The Tactile Situation Awareness System (TSAS) began as a sensory cue to counteract pilot spatial disorientation. More recent adaptations of TSAS provide feedback for postural instability and spatial cues for persons with hearing loss.... more
The Tactile Situation Awareness System (TSAS) began as a sensory cue to counteract pilot spatial disorientation. More recent adaptations of TSAS provide feedback for postural instability and spatial cues for persons with hearing loss. This demonstration included a brief presentation on past TSAS developments and recent applications. Attendees experienced an interactive demonstration of the TSAS hover-drift countermeasure for helicopter pilots, as well as recent applications of vibrotactile cues for looming, for postural stability, and for aiding target localization in pilots with noise-induced hearing loss.
Haptic displays are commonly limited to transmitting a discrete set of tactile motives. In this paper, we explore the transmission of real-valued information through vibrotactile displays. We simulate spatial continuity with three... more
Haptic displays are commonly limited to transmitting a discrete set of tactile motives. In this paper, we explore the transmission of real-valued information through vibrotactile displays. We simulate spatial continuity with three perceptual models commonly used to create phantom sensations: the linear , logarithmic and power model. We show that these generic models lead to limited decoding precision, and propose a method for model personalization adjusting to idiosyncratic and spatial variations in perceptual sensitivity. We evaluate this approach using two haptic display layouts: circular, worn around the wrist and the upper arm, and straight, worn along the forearm. Results of a user study measuring continuous value decoding precision show that users were able to decode continuous values with relatively high accuracy (4.4% mean error), circular layouts performed particularly well, and per-sonalisation through sensitivity adjustment increased decoding precision.
In this research, we examined a technique in which the production of body sway in a desired direction was considered using a v ibro-tactile stimulator. It is necessary to create body sway in a specific direction t o assist in postural... more
In this research, we examined a technique in which the production of body sway in a desired direction was considered using a v ibro-tactile stimulator. It is necessary to create body sway in a specific direction t o assist in postural control. Therefore, this study aimed to introduce a device that creates spatio-temporal tactile stimulation patterns by altering the interval times between vibrations. We measured body sway caused by each stimulation using a high-speed camera, stabilometer, and acceleration sensor. We then analyzed the effects of each stimulation on body sway. As a result, this study suggests the optimal time duration and interval of stimulations for a specific direction.
This paper describes a novel category of affective vibrotactile stimuli which evoke real-world sensations and details a study into emotional responses to them. The affective properties of short and abstract vibrotactile waveforms have... more
This paper describes a novel category of affective vibrotactile stimuli which evoke real-world sensations and details a study into emotional responses to them. The affective properties of short and abstract vibrotactile waveforms have previously been studied and shown to have a narrow emotional range. By contrast this paper investigated emotional responses to longer waveforms and to emotionally resonant vibrotactile stimuli, stimuli which are evocative of real-world sensations such as animal purring or running water. Two studies were conducted. The first recorded emotional responses to Tactons with a duration of 20 seconds. The second investigated emotional responses to novel emotionally resonant stimuli. Stimuli that users found more emotionally resonant were more pleasant, particularly if they had prior emotional connections to the sensation represented. Results suggest that future designers could use emotional resonance to expand the affective response range of vibrotactile cues by utilising stimuli with which users bear an emotional association.
Wrist-wearable vibrotactile arrays can serve many functions: typically they are used for non-disruptive notification from social media. They can also be used for direction finding, gaming and entertainment. Authoring and programming of... more
Wrist-wearable vibrotactile arrays can serve many functions: typically they are used for non-disruptive notification from social media. They can also be used for direction finding, gaming and entertainment. Authoring and programming of wrist-wearable vibrotactile arrays can be difficult because of the lack of standardized notational systems and file formats. Typically, each implementation of haptic arrays uses bespoke programming. This tends to isolate creative and technical development into non-communicating silos that discourage standardization and sharing. We propose that standard musical notation is an appropriate method for standardization and compositional expressiveness.
[Preprint ASTASA, 2021] L'étude de l'expérience musicale sourde a permis de mettre en lumière le rôle fondamental du corps dans la réception de la musique, définissant ainsi le principe de « corpauralité ». Renvoyant aux mécanismes... more
[Preprint ASTASA, 2021] L'étude de l'expérience musicale sourde a permis de mettre en lumière le rôle fondamental du corps dans la réception de la musique, définissant ainsi le principe de « corpauralité ». Renvoyant aux mécanismes complexes du système somatosensoriel, notamment liés à la perception vibrotactile des vibrations provoquées par la musique, la corpauralité se concrétise grâce aux capacités sensibles du corps à réagir aux stimuli sensoriels de son environnement. Toutefois, si la conception dominante de nos environnements musicaux fait encore de l'oreille un organe privilégié de l'expérience musicale de nos jours, les pratiques musicales sourdes, bien que fondamentalement corpaurales, semblent davantage privilégier l'utilisation du sens de la vue. Il résulte ainsi que l'utilisation actuelle des technologies de diffusion haptiques en musique, notamment dans les domaines du spectacle vivant et de l'accessibilité, est régie par une conception audiocentrée. Dans cet article, nous soulevons la possibilité de concevoir (ou reconcevoir) des environnements musicaux détachés de toute injonction audiocentrique, orientés par l'exploitation de la corpauralité. Nous proposons ainsi la piste d'un nouveau modèle pour une organisation spatiotemporelle de stimuli vibrotactiles, le Vibrotactile Space Trajectory Model (VibSTraM), dans le but de concevoir un nouveau système musical.
Two joystick-based teleoperation is a common method for controlling a remote machine or a robot. Their use could be counter-intuitive and could require a heavy mental workload. The goal of this paper is to investigate whether vibrotactile... more
Two joystick-based teleoperation is a common method for controlling a remote machine or a robot. Their use could be counter-intuitive and could require a heavy mental workload. The goal of this paper is to investigate whether vibrotactile prompts could be used to trigger dual-joystick responses quickly and intuitively, so to possibly employ them for training. In particular, we investigate the effects of: (1) stimuli delivered either on the palm or on the back of the hand, (2) with attractive and repulsive mappings, (3) with single and sequential stimuli. We find that 38 participants responded quicker and more accurately when stimuli were delivered on the back of the hand, preferred to move towards the vibration. Sequential stimuli led to intermediate responses in terms of speed and accuracy.
