I’m sensing in the rain: spatial incongruity in visual-tactile mid-air stimulation can elicit ownership in VR users

Major virtual reality (VR) companies are trying to enhance the sense of immersion in virtual environments by implementing haptic feedback in their systems (e.g., Oculus Touch). It is known that tactile stimulation adds realism to a virtual environment. In addition, when users are not limited by wearing any attachments (e.g., gloves), it is even possible to create more immersive experiences. Mid-air haptic technology provides contactless haptic feedback and offers the potential for creating such immersive VR experiences. However, one of the limitations of mid-air haptics resides in the need for freehand tracking systems (e.g., Leap Motion) to deliver tactile feedback to the user's hand. These tracking systems are not accurate, limiting designers capability of delivering spatially precise tactile stimulation. Here, we investigated an alternative way to convey incongruent visual-tactile stimulation that can be used to create the illusion of a congruent visual-tactile experience, while participants experience the phenomenon of the rubber hand illusion in VR

Scented material: changing features of physical creations based on odors

Despite the fact that the design process can exploit a rich communication between the designer and the end users in terms of desired visual and audio sensory feedback, the vocabulary for less exploited aspects of the interaction (i.e., emotional, experiential) is still ambiguous. This is particularly a challenge when considering the increased interest in designing for a wider spectrum of experiences and interfaces (e.g., tangible, multimodal, multisensory interaction). In this paper, we present preliminary findings on the effect of scented material on physical creations using scented and unscented modeling clay. We compare features from the abstract creations from of three groups (i.e., vanilla scented, lemon scented, or unscented material). Our preliminary results confirm pre-existing mappings across shapes and scents. We discuss the various properties of the creations and discuss their relevance based on previous work and in particular its potential for HCI in the design of future interactive experiences

Haptic rules! augmenting the gaming experience in traditional games: the case of Foosball

Haptic sensations are a crucial aspect of everyday interaction. We touch, lift, move, and probe objects in our everyday activities. However, whilst the importance of haptic feedback has often been emphasized in gaming, haptics has been rarely used to enhance the experience in traditional (non-digital) games. In the last 50 years, technological advancement has allowed an easier access to haptic feedback. Digital games have exploited such access mainly (1) to enhance visual and acoustic feedback, and (2) to reproduce realistic feedbacks in augmented and virtual environments. Here, we re-think haptic feedback by focusing on game augmentation to enrich the gaming experience and gameplay in non-technological games. We describe the design process that led us to define the concept of “haptic rules” as haptic-based enhancement in interference play, where haptic feedback is delivered by users to users within the game as a further mode of interaction. We apply the idea of haptic rules to the game of foosball, evaluating the effect on the gameplay and user experience

Not just seeing, but also feeling art: mid-air haptic experiences integrated in a multisensory art exhibition

The use of the senses of vision and audition as interactive means has dominated the field of Human-Computer Interaction (HCI) for decades, even though nature has provided us with many more senses for perceiving and interacting with the world around us. That said, it has become attractive for {HCI} researchers and designers to harness touch, taste, and smell in interactive tasks and experience design. In this paper, we present research and design insights gained throughout an interdisciplinary collaboration on a six-week multisensory display – Tate Sensorium – exhibited at the Tate Britain art gallery in London, UK. This is a unique and first time case study on how to design art experiences whilst considering all the senses (i.e., vision, sound, touch, smell, and taste), in particular touch, which we exploited by capitalizing on a novel haptic technology, namely, mid-air haptics. We first describe the overall set up of Tate Sensorium and then move on to describing in detail the design process of the mid-air haptic feedback and its integration with sound for the Full Stop painting by John Latham (1961). This was the first time that mid-air haptic technology was used in a museum context over a prolonged period of time and integrated with sound to enhance the experience of visual art. As part of an interdisciplinary team of curators, sensory designers, sound artists, we selected a total of three variations of the mid-air haptic experience (i.e., haptic patterns), which were alternated at dedicated times throughout the six-week exhibition. We collected questionnaire-based feedback from 2500 visitors and conducted 50 interviews to gain quantitative and qualitative insights on visitors’ experiences and emotional reactions. Whilst the questionnaire results are generally very positive with only a small variation of the visitors’ arousal ratings across the three tactile experiences designed for the Full Stop painting, the interview data shed light on the differences in the visitors’ subjective experiences. Our findings suggest multisensory designers and art curators can ensure a balance between surprising experiences versus the possibility of free exploration for visitors. In addition, participants expressed that experiencing art with the combination of mid-air haptic and sound was immersive and provided an up-lifting experience of touching without touch. We are convinced that the insights gained from this large-scale and real-world field exploration of multisensory experience design exploiting a new and emerging technology provide a solid starting point for the {HCI} community, creative industries, and art curators to think beyond conventional art experiences. Specifically, our work demonstrates how novel mid-air technology can make art more emotionally engaging and stimulating, especially abstract art that is often open to interpretation

Multisensory experiences in HCI

The use of vision and audition for interaction dominated the field of human-computer interaction (HCI) for decades, despite the fact that nature has provided us with many more senses for perceiving and interacting with the world around us. Recently, HCI researchers have started trying to capitalize on touch, taste, and smell when designing interactive tasks, especially in gaming, multimedia, and art environments. Here we provide a snapshot of our research into touch, taste, and smell, which we’re carrying out at the Sussex Computer Human Interaction (SCHI—pronounced “sky”) Lab at the University of Sussex in Brighton, UK

Awake one stage bilateral thoracoscopic sympathectomy for palmar hyperhidrosis: a safe outpatient procedure

OBJECTIVE: To verify the feasibility and compare the results of thoracoscopic sympathectomy under local anaesthesia (LA) and spontaneous breathing vs. general anaesthesia (GA) with one-lung ventilation. METHODS: Two groups of consecutive patients underwent one stage bilateral T2-T3 thoracoscopic sympathectomy under LA (n=15) and GA (n=30) by the same surgical team for treatment of primary palmar hyperhidrosis. The groups were homogeneous for relevant demographic, physiological and clinical data, including pulmonary function. In both groups, patient's satisfaction was evaluated 24h after surgery by a simple interview and scored into five grades (1=very poor to 5=excellent), while quality of life (QOL) was evaluated by SF-36 and Nottingham's Health Profile questionnaires before and 6 months after surgery. A cost comparison between groups concerning devices, drugs, global in operating room time, medical personnel and hospital stay was also carried out. RESULTS: No operative mortality was recorded. The overall in operating room time for the whole bilateral procedure under LA was 63.55+/-10.58 vs. 86.05+/-5.75 under GA (P<0.01) and temperature increased in all patients from a baseline of 25.42+/-0.56 up to 32.15+/-0.84 degrees C. All patients undergone LA were discharged the same day after a chest roentgenogram and a short stay in the outpatient clinic. Among them three patients (20%) experienced a minimal (<30%) pneumothorax that required no treatment, while five (33.3%) had a trunk compensatory sweating that spontaneously resolved on the long run. Patients undergoing GA were discharged after a mean stay of 1.38+/-0.6 days. Among these, eight (26.6%) had prolonged trunk compensatory sweating that did not persist longer than 3 months. At a follow-up of 7.16+/-2.97 months, QOL was significantly improved with no difference between groups. The overall rate of satisfaction was greater in the LA group (P<0.05). CONCLUSIONS: In our study, awake one stage bilateral thoracoscopic sympathectomy for palmar hyperhidrosis could be safely and effectively performed as an outpatient procedure in patients refusing GA. Postoperative quality of life was equal to that in patients undergone the same procedure under GA, while patient satisfaction was better and cost were significantly reduced

The how and why behind a multisensory art display

Designing multisensory experiences has always fascinated artists and scientists alike. In recent years, there has been a growing interest in multisensory experience design within the HCI community [1]. Next to advances in haptic technologies, we see novel work on olfactory and gustatory systems [2,3] and efforts in determining multisensory design spaces [4]. Moreover, artists, museum curators, and creative industries are interested in those emerging technologies for their own work. Here we present Tate Sensorium, a multisensory art display, as an example case for multisensory design

Expressive, Variable, and Controllable Duration Modelling in TTS

Duration modelling has become an important research problem once more with the rise of non-attention neural text-to-speech systems. The current approaches largely fall back to relying on previous statistical parametric speech synthesis technology for duration prediction, which poorly models the expressiveness and variability in speech. In this paper, we propose two alternate approaches to improve duration modelling. First, we propose a duration model conditioned on phrasing that improves the predicted durations and provides better modelling of pauses. We show that the duration model conditioned on phrasing improves the naturalness of speech over our baseline duration model. Second, we also propose a multi-speaker duration model called Cauliflow, that uses normalising flows to predict durations that better match the complex target duration distribution. Cauliflow performs on par with our other proposed duration model in terms of naturalness, whilst providing variable durations for the same prompt and variable levels of expressiveness. Lastly, we propose to condition Cauliflow on parameters that provide an intuitive control of the pacing and pausing in the synthesised speech in a novel way

Distance biases in the estimation of the physical properties of Hi-GAL compact sources - I. Clump properties and the identification of high-mass star-forming candidates

The degradation of spatial resolution in star-forming regions, observed at large distances (d ≳ 1 kpc) with Herschel, can lead to estimates of the physical parameters of the detected compact sources (clumps), which do not necessarily mirror the properties of the original population of cores. This paper aims at quantifying the bias introduced in the estimation of these parameters by the distance effect. To do so, we consider Herschel maps of nearby star-forming regions taken from the Herschel Gould Belt survey, and simulate the effect of increased distance to understand what amount of information is lost when a distant star-forming region is observed with Herschel resolution. In the maps displaced to different distances we extract compact sources, and we derive their physical parameters as if they were original Herschel infrared Galactic Plane Survey maps of the extracted source samples. In this way, we are able to discuss how the main physical properties change with distance. In particular, we discuss the ability of clumps to form massive stars: we estimate the fraction of distant sources that are classified as high-mass stars-forming objects due to their position in the mass versus radius diagram, that are only 'false positives'. We also give a threshold for high-mass star formation M>1282 (r/ [pc])^{1.42} M_{☉}. In conclusion, this paper provides the astronomer dealing with Herschel maps of distant star-forming regions with a set of prescriptions to partially recover the character of the core population in unresolved clumps

Activin A Induces Langerhans Cell Differentiation In Vitro and in Human Skin Explants

Langerhans cells (LC) represent a well characterized subset of dendritic cells located in the epidermis of skin and mucosae. In vivo, they originate from resident and blood-borne precursors in the presence of keratinocyte-derived TGFβ. Ιn vitro, LC can be generated from monocytes in the presence of GM-CSF, IL-4 and TGFβ. However, the signals that induce LC during an inflammatory reaction are not fully investigated. Here we report that Activin A, a TGFβ family member induced by pro-inflammatory cytokines and involved in skin morphogenesis and wound healing, induces the differentiation of human monocytes into LC in the absence of TGFβ. Activin A-induced LC are Langerin+, Birbeck granules+, E-cadherin+, CLA+ and CCR6+ and possess typical APC functions. In human skin explants, intradermal injection of Activin A increased the number of CD1a+ and Langerin+ cells in both the epidermis and dermis by promoting the differentiation of resident precursor cells. High levels of Activin A were present in the upper epidermal layers and in the dermis of Lichen Planus biopsies in association with a marked infiltration of CD1a+ and Langerin+ cells. This study reports that Activin A induces the differentiation of circulating CD14+ cells into LC. Since Activin A is abundantly produced during inflammatory conditions which are also characterized by increased numbers of LC, we propose that this cytokine represents a new pathway, alternative to TGFβ, responsible for LC differentiation during inflammatory/autoimmune conditions