| Communicative Functions of Haptic Feedback | | BIBA | Full-Text | 1-10 | |
| Jonas Moll; Eva-Lotta Sallnäs | |||
| In this paper a number of examples are presented of how haptic and auditory feedback can be used for deictic referencing in collaborative virtual environments. Haptic feedback supports getting a shared frame of reference of a common workspace when one person is not sighted and makes haptic deictic referencing possible during navigation and object exploration. Haptic guiding is a broader concept that implies that not only a single action, like a deictic reference, is made but that a whole sequence of temporally connected events are shared, sometimes including deictic referencing. In the examples presented in this paper haptic guiding is used by participants as a way to navigate while at the same time explore details of objects during joint problem solving. Guiding through haptic feedback is shown to substitute verbal navigational instructions to a considerable extent. | |||
| Target Acquisition with Force Feedback: The Effect of Different Forces on the User's Performance | | BIBA | Full-Text | 11-20 | |
| Joan De Boeck; Lode Vanacken; Karin Coninx | |||
| Besides realistic haptic rendering of objects, haptic feedback can also be used to provide an abstract feedback channel. This can either be realised by a tactile or a force feedback stimulus. When using forces, care has to be taken that the user's performance is not influenced in a negative way. However, as it is not obvious to determine a suitable force, and currently not many guidelines exist. Therefore, in this paper we investigate the influence on some important parameters that define a force (shape, duration and amplitude). In order to compare different forces, we propose to use the definite integral (Force Integral, FI) which combines the considered parameters. From the conducted experiment we learn that the FI can be used (within bounds) to make an estimation of the result of the force. Besides this, we also found that above a given FI value, the user's performance degrades significantly. | |||
| Evaluating Factors that Influence Path Tracing with Passive Haptic Guidance | | BIBAK | Full-Text | 21-30 | |
| Kurosh Zarei-nia; Xing-Dong Yang; Pourang Irani; Nariman Sepehri | |||
| A very common task in medical applications and motor-skill training is to
trace a path. However, when designing a haptically guided interface, designers
need to consider the choice of several parameters in the design. These include
the real-time function for bringing back the user to the right path, the effect
of the path's curvature on tracing, and the amount of haptic force needed for
guiding the user appropriately. In this paper, we describe the results of an
experiment that was designed to assess the effect of several design factors
that can influence the performance of path tracing tasks. Our results show that
the shape of the path has an effect on the amount of deviation from a path.
Additionally, we found that a high amount of stiffness is preferred over low
stiffness. Finally, the type of force profile that haptically guides the user,
particularly the slope of the function, is also an important factor in path
tracing tasks. We discuss our results with implications for designs of systems
necessitating haptic force feedback in constrained path tracing tasks. Keywords: Haptic guidance; haptic interface; motor skill training; force feedback | |||
| Haptic Interaction Techniques for Exploring Chart Data | | BIBAK | Full-Text | 31-40 | |
| Sabrina A. Panëels; Jonathan C. Roberts; Peter J. Rodgers | |||
| Haptic data visualization is a growing research area. It conveys information
using the sense of touch which can help visually impaired people or be useful
when other modalities are not available. However, as haptic devices and virtual
worlds exhibit many challenges, the haptic interactions developed are often
simple and limited to navigation tasks, preferring other modalities to relay
detailed information. One of the principal challenges of navigation with haptic
devices alone, particularly single point-based force-feedback devices, is that
users do not know where to explore and thus obtaining an overview is difficult.
Thus, this paper presents two types of interaction technique that aim to help
the user get an overview of data: 1) a haptic scatter plot, which has not been
investigated to any great degree, provided by a force model and 2) a new
implementation for a haptic line chart technique provided using a guided tour
model. Keywords: Haptic Visualization; Haptic Interaction Techniques; Haptic Scatter Plots;
Haptic Line Charts | |||
| Audio Bubbles: Employing Non-speech Audio to Support Tourist Wayfinding | | BIBAK | Full-Text | 41-50 | |
| David McGookin; Stephen Brewster; Pablo Priego | |||
| We introduce the concept of Audio Bubbles -- virtual spheres filled with
audio that are geocentered on physical landmarks, providing navigational homing
information for a user to more easily locate the landmark. We argue that the
way in which tourists navigate is not well supported by traditional visual
maps, and that Audio Bubbles better support the serendipitous discovery and
homing behaviours exhibited in such tourist activities. We present a study
comparing Audio Bubbles to a visual map in a real world navigation task.
Navigation with Audio Bubbles appeared to be faster and was preferred by most
of the participants. We discuss the findings and outline our future development
plans. Keywords: Non-visual Navigation; Wayfinding; Auditory Display | |||
| Interactive Sonification of Curve Shape and Curvature Data | | BIBAK | Full-Text | 51-60 | |
| Simon Shelley; Miguel Alonso; Jacqueline Hollowood; Michael Pettitt; Sarah Sharples; Dik Hermes; Armin Kohlrausch | |||
| This paper presents a number of different sonification approaches that aim
to communicate geometrical data, specifically curve shape and curvature
information, of virtual 3-D objects. The system described here is part of a
multi-modal augmented reality environment in which users interact with virtual
models through the modalities vision, hearing and touch. An experiment designed
to assess the performance of the sonification strategies is described and the
key findings are presented and discussed. Keywords: sonification; sound synthesis; modal synthesis; virtual environments;
haptics; human-computer interaction | |||
| Accessing Audiotactile Images with HFVE Silooet | | BIBAK | Full-Text | 61-70 | |
| David Dewhurst | |||
| In this paper, recent developments of the HFVE vision-substitution system
are described; and the initial results of a trial of the "Silooet" software are
reported. The system uses audiotactile methods to present features of visual
images to blind people. Included are details of presenting objects found in
prepared media and live images; object-related layouts and moving effects
(including symbolic paths); and minor enhancements that make the system more
practical to use. Initial results are reported from a pilot study that tests
the system with untrained users. Keywords: Vision-substitution; sensory-substitution; HFVE; Silooet; blindness;
deafblindness; audiotactile; haptics; braille; Morse code | |||
| Configurable Design of Multimodal Non Visual Interfaces for 3D VE's | | BIBAK | Full-Text | 71-80 | |
| Fabio De Felice; Giovanni Attolico; Arcangelo Distante | |||
| 3D virtual environments (VE) require an advanced user interface to fully
express their information contents. New I/O devices enable the use of multiple
sensorial channels (vision, hearing, touch, etc.) to increase the naturalness
and the efficiency of complex interactions. Haptic and acoustic interfaces
extend the effective experience of virtual reality to visually impaired users.
For these users, a multimodal rendering that matches the subjective
characteristics and the personal abilities of individuals is mandatory to
provide a complete and correct perception of the virtual scene. User feedbacks
are critical since the design phase. This paper proposes an approach for the
design of haptic/acoustic user interface to makes up the lack of visual
feedback in blind users interaction. It increases the flexibility of the
interface development by decoupling the multimodal rendering design from the VE
geometric structure. An authoring tool allows experts of the knowledge domain
(even without specific skills about the VE) to design the haptic/acoustic
rendering of virtual objects. Keywords: Haptic\acoustic interface design; cooperative design; visual impaired users;
3D virtual environments | |||
| Tactile Paper Prototyping with Blind Subjects | | BIBAK | Full-Text | 81-90 | |
| Mei Miao; Wiebke Köhlmann; Maria Schiewe; Gerhard Weber | |||
| With tactile paper prototyping user interfaces can be evaluated with blind
users in an early design stage. First, we describe two existing paper
prototyping methods, visual and haptic paper prototyping, and indicate their
limitations for blind users. Subsequently, we present our experiences while
preparing, conducting and analysing tests performed using tactile paper
prototyping. Based on our experiences, we provide recommendations for this new
usability evaluation method. Keywords: tactile paper prototyping; low-fidelity prototyping; usability evaluation
method; visually impaired; tactile interaction; design methodologies;
usability; user-centred design | |||
| The Carillon and Its Haptic Signature: Modeling the Changing Force-Feedback Constraints of a Musical Instrument for Haptic Display | | BIBAK | Full-Text | 91-99 | |
| Mark Havryliv; Florian Geiger; Matthias Guertler; Fazel Naghdy; Greg Schiemer | |||
| The carillon is one of the few instruments that elicits sophisticated haptic
interaction from amateur and professional players alike. Like the piano
keyboard, the velocity of a player's impact on each carillon key, or baton,
affects the quality of the resultant tone; unlike the piano, each carillon
baton returns a different force-feedback. Force-feedback varies widely from one
baton to the next across the entire range of the instrument and with further
idiosyncratic variation from one instrument to another. This makes the carillon
an ideal candidate for haptic simulation. The application of synthesized
force-feedback based on an analysis of forces operating in a typical carillon
mechanism offers a blueprint for the design of an electronic practice clavier
and with it the solution to a problem that has vexed carillonists for
centuries, namely the inability to rehearse repertoire in private. This paper
will focus on design and implementation of a haptic carillon clavier derived
from an analysis of the Australian National Carillon in Canberra. Keywords: Haptics; musical instrument; physical modeling; National Carillon | |||
| Augmented Haptics -- An Interactive Feedback System for Musicians | | BIBAK | Full-Text | 100-108 | |
| Tobias Grosshauser; Thomas Hermann | |||
| This paper presents integrated vibrotactiles, a novel interface for movement
and posture tuition that provides real-time feedback in a tactile form by means
of interactive haptic feedback, thereby conveying information neither
acoustically nor visually and it is a promising feedback means for movements in
3D-space. In this paper we demonstrate haptic augmentation for applications for
musicians, since it (a) doesn't affect the visual sense, occupied by reading
music and communication, (b) doesn't disturb in bang sensitive situations such
as concerts, (c) allows to relate feedback information in the same tactile
medium as the output of the musical instrument, so that an important feedback
channel for musical instrument playing is extended and trained supportive. Even
more, instructions from the teacher and the computer can be transmitted
directly and unobtrusively in this channel. This paper presents a prototype
system together with demonstrations of applications that support violinists
during musical instrument learning. Keywords: closed-loop tactile feedback; tuition; sensor; violin; bow; 3D-movement;
real-time feedback | |||
| Interaction Design: The Mobile Percussionist | | BIBAK | Full-Text | 109-118 | |
| Tiago Reis; Luís Carriço; Carlos Duarte | |||
| This paper presents the user centered iterative interaction design of a
mobile music application. The application enables multiple users to use one or
more accelerometers in order to simulate the interaction with real percussion
instruments (drums, congas, and maracas). The ways through which the
accelerometers are held, before and during interaction, define the instruments
they represent, allowing the swapping of instruments during musical
performances. The early evaluation sessions directed to the interaction modes
created for each instrument enabled design iterations that were of utmost
importance regarding the final application's ease of use and similarity to
reality. The final evaluation of the application involved 4 percussionists that
considered it well conceived, similar to the real instruments, natural and
suitable for entertainment purposes, but not for professional musical purposes. Keywords: Audio Interaction; Context Awareness; Mobile Interaction;
Accelerometer-Based Gesture Recognition | |||
| Vibratory and Acoustical Factors in Multimodal Reproduction of Concert DVDs | | BIBAK | Full-Text | 119-127 | |
| Sebastian Merchel; M. Ercan Altinsoy | |||
| Sound and vibration perception are always coupled in live music experience.
Just think of a rock concert or hearing (and feeling) a church organ sitting on
a wooden pew. Even in classical concerts kettledrum and double bass are sensed
not only with our ears. The air-borne sound causes seat vibrations or excites
the skin surface directly. For some instruments (e.g. an organ) structure-borne
sound is transmitted directly from the instrument to the listener.
If concert recordings are played back with multimedia hi-fi systems at home, these vibratory information is missing in the majority of cases. This is due to low reproduction levels or to the limited frequency range of conventional loudspeakers. The audio signal on todays DVDs contains an additional channel for low frequency effects (LFE), which is intended for reproduction using a subwoofer. The generation of tactile components is still very restricted. An enhancement of such a systems might be possible using an electrodynamical shaker which generates whole body vibration (WBV) for a seated person. This paper describes a system implementing this approach. The generation of a vibrotactile signal from the existing audio channels is analyzed. Different parameters during this process (amplitude of the vibration, frequency range) are examined in relation to their perceptual consequences using psychophysical experiments. Keywords: Multimodal Music Reproduction; Whole Body Vibration; Audiotactile Concert
Perception | |||
| The Effect of Multimodal Feedback Presented via a Touch Screen on the Performance of Older Adults | | BIBAK | Full-Text | 128-135 | |
| Ju-Hwan Lee; Ellen Poliakoff; Charles Spence | |||
| Many IT devices -- such as mobile phones and PDAs -- have recently started
to incorporate easy-to-use touch screens. There is an associated need for more
effective user interfaces for touch screen devices that have a small screen
area. One attempt to make such devices more effective and/or easy to use has
come through the introduction of multimodal feedback from two or more sensory
modalities. Multimodal feedback might provide even larger benefits to older
adults who are often unfamiliar with recent developments in electronic devices,
and may be suffering from the age-related degeneration of both cognitive and
motor processes. Therefore, the beneficial effects associated with the use of
multimodal feedback might be expected to be larger for older adults in
perceptually and/or cognitively demanding situations. In the present study, we
examined the potential benefits associated with the provision of multimodal
feedback via a touch screen on older adults' performance in a demanding
dual-task situation. We compared unimodal (visual) feedback with various
combinations of multimodal (bimodal and trimodal) feedback. We also
investigated the subjective difficulty of the task as a function of the type of
feedback provided in order to evaluate qualitative usability issues. Overall,
the results demonstrate that the presentation of multimodal feedback with
auditory signals via a touch screen device results in enhanced performance and
subjective benefits for older adults. Keywords: Multimodal User Interface; Multimodal Feedback; Multimodal Interaction;
Older Adults; Touch Screen | |||
| Audiotactile Feedback Design for Touch Screens | | BIBAK | Full-Text | 136-144 | |
| M. Ercan Altinsoy; Sebastian Merchel | |||
| The use of touch sensitive displays and touch surfaces is just emerging and
they are more and more replacing physical buttons. If a physical button is
pressed, audio and tactile feedback confirms the successful operation. The loss
of audiotactile feedback in touch sensitive interfaces might create higher
input error rates and user dissatisfaction. Therefore the design and evaluation
of suitable signals is necessary. In literature different researchers discuss
implementation and evaluation of audio and tactile feedback for mobile
applications using small vibration actuators, e.g. [1,..., 12]. However in
ticket machines or automated teller machines the size of the actuator is not a
limiting factor. Thus arbitrary vibratory stimuli can be generated. In this
study, the tactile feedback is generated using an electro-dynamic exciter which
allows amplitudes comparable to physical buttons. Real buttons normally produce
multimodal feedback. Therefore multimodal interaction is an important issue for
the touch screens. In this study, psychophysical experiments were conducted to
investigate the design and interaction issues of auditory and tactile stimuli
for touch sensitive displays and the combined influence of auditory and tactile
information (i.e. vibration) on the system quality. Keywords: Touch screens; multimodal interaction; auditory; haptic; evaluation; error
rate | |||
| Evaluation of User's Physical Experience in Full Body Interactive Games | | BIBA | Full-Text | 145-154 | |
| Mitja Koštomaj; Bojana Boh | |||
| This paper is an evaluation of full body interactive games using Kroflic's and Laban's framework of Body, Space, Time and Relationship. An experiment with 8 participants playing 10 games for 20 minutes was conducted and recorded to digital video. Body, Space and Time elements have been measured using observation, motion tracking and Quantity of Motion (QoM). The results from the experiment informed the designer about the participants' physical experience through the analysis of postures used in each game, the quality of the movement, the body parts used in the interaction, the playing area, the direction of movement, direction of gaze, tempo, dynamics and QoM. The experiment informed the designer about important issues of the user's physical experience and proved that the method can provide useful information in the development and evaluation of full body interactive games. The theoretical work of Laban and Kroflic also proved useful for interaction and games design in the transition from desktop to full body interactive games. | |||
| A Tangible Game as Distributable Platform for Psychophysical Examination | | BIBA | Full-Text | 155-164 | |
| Matthias Rath; Sascha Bienert | |||
| Through the use of built-in accelerometers a game-software for recent generation MacBooks allows control of a scenario of virtual moving objects by tilting the computer. Together with integrated visual and continuous auditory feedback from models based on physical principles the software forms a possible platform for online collection of psychophysical data. | |||