Composing vibrotactile music: A multi-sensory experience with the emoti-chair

Baijal, Anant; Kim, Julia; Branje, Carmen; Russo, Frank A.; Fels, Deborah I.

doi:10.1109/haptic.2012.6183839

Cited by 24 publications

(13 citation statements)

References 25 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Further investigation into differences between discrete and continuous vibrotactile beats may be a topic of interest for future research. In any case, the ability of the deaf group to synchronize to a vibrotactile beat validates the use of vibrotactile music technology for people with hearing impairments (e.g., Karam et al, 2009 ; Baijal et al, 2012 ), and this finding may help guide future developments in this field, particularly with regards to interventions for social dancing.…”

Section: Discussionsupporting

confidence: 62%

“…Deaf people often participate in social dancing situations (Darrow, 1993 ), but little research has examined this behavior. In this population, music is typically experienced through vibrations, as evidenced by the development and effectiveness of vibrotactile platforms for musical experiences in the deaf (Karam et al, 2009 ; Baijal et al, 2012 ). In terms of beat synchronization, one recent study demonstrated that early deaf people are able to synchronize a hand-tapping motion to a visual stimulus, and in fact, perform better than hearing people when the stimulus is discrete (a flashing dot) rather than continuous (a bouncing ball) (Iversen et al, 2015 ).…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Feeling the Beat: Bouncing Synchronization to Vibrotactile Music in Hearing and Early Deaf People

et al. 2017

View full text Add to dashboard Cite

The ability to dance relies on the ability to synchronize movements to a perceived musical beat. Typically, beat synchronization is studied with auditory stimuli. However, in many typical social dancing situations, music can also be perceived as vibrations when objects that generate sounds also generate vibrations. This vibrotactile musical perception is of particular relevance for deaf people, who rely on non-auditory sensory information for dancing. In the present study, we investigated beat synchronization to vibrotactile electronic dance music in hearing and deaf people. We tested seven deaf and 14 hearing individuals on their ability to bounce in time with the tempo of vibrotactile stimuli (no sound) delivered through a vibrating platform. The corresponding auditory stimuli (no vibrations) were used in an additional condition in the hearing group. We collected movement data using a camera-based motion capture system and subjected it to a phase-locking analysis to assess synchronization quality. The vast majority of participants were able to precisely time their bounces to the vibrations, with no difference in performance between the two groups. In addition, we found higher performance for the auditory condition compared to the vibrotactile condition in the hearing group. Our results thus show that accurate tactile-motor synchronization in a dance-like context occurs regardless of auditory experience, though auditory-motor synchronization is of superior quality.

show abstract

Section: Discussionsupporting

confidence: 62%

Section: Introductionmentioning

confidence: 99%

Feeling the Beat: Bouncing Synchronization to Vibrotactile Music in Hearing and Early Deaf People

et al. 2017

View full text Add to dashboard Cite

show abstract

“…Multimodal systems allow the construction of interactive environments in which users can use different senses and carry out play activities that contribute to their psychomotor development [68,69,70,71]. This case can be clearly seen in [58,61] where the created devices involved different feedback, such as haptic and visual cues, that allowed the patient to perceive the information through multiple senses and react to the stimuli, causing the activity to be more engaging.…”

Section: Discussionmentioning

confidence: 99%

Scoping Review of Systems to Train Psychomotor Skills in Hearing Impaired Children

Peñeñory

Manresa-Yee

Riquelme

et al. 2018

Sensors

View full text Add to dashboard Cite

Objectives: The aim of this work is to provide a scoping review to compile and classify the systems helping train and enhance psychomotor skills in hearing impaired (HI) children. Methods: Based on an exhaustive review on psychomotor deficits in HI children, the procedure used to carry out a scoping review was: select keywords and identify synonyms, select databases and prepare the queries using keywords, analyze the quality of the works found using the PEDro Scale, classify the works based on psychomotor competences, analyze the interactive systems (e.g., sensors), and the achieved results. Results: Thirteen works were found. These works used a variety of sensors and input devices such as cameras, contact sensors, touch screens, mouse and keyboard, tangible objects, haptic and virtual reality (VR) devices. Conclusions: From the research it was possible to contextualize the deficits and psychomotor problems of HI children that prevent their normal development. Additionally, from the analysis of different proposals of interactive systems addressed to this population, it was possible to establish the current state of the use of different technologies and how they contribute to psychomotor rehabilitation.

show abstract

“…Deaf individuals report that vibrotactile devices, such as haptic chairs, are a significant contribution to their musical enjoyment [ 72 ]. Using vibrotactile technology, music has been created in which vibrotactile aspects supersede the auditory aspects of music [ 73 ]. Research has shown that incorporating additional vibrotactile stimuli though sensory substitution technology may be an effective way to convey the emotional information when experiencing music [ 74 , 75 ].…”

Section: Non-auditory Elements Of Music and The Deaf Experiencementioning

confidence: 99%

Compensatory Plasticity in the Deaf Brain: Effects on Perception of Music

Good¹,

Reed²,

Russo³

2014

Brain Sciences

Self Cite

View full text Add to dashboard Cite

When one sense is unavailable, sensory responsibilities shift and processing of the remaining modalities becomes enhanced to compensate for missing information. This shift, referred to as compensatory plasticity, results in a unique sensory experience for individuals who are deaf, including the manner in which music is perceived. This paper evaluates the neural, behavioural and cognitive evidence for compensatory plasticity following auditory deprivation and considers how this manifests in a unique experience of music that emphasizes visual and vibrotactile modalities.

show abstract

Composing vibrotactile music: A multi-sensory experience with the emoti-chair

Cited by 24 publications

References 25 publications

Feeling the Beat: Bouncing Synchronization to Vibrotactile Music in Hearing and Early Deaf People

Feeling the Beat: Bouncing Synchronization to Vibrotactile Music in Hearing and Early Deaf People

Scoping Review of Systems to Train Psychomotor Skills in Hearing Impaired Children

Compensatory Plasticity in the Deaf Brain: Effects on Perception of Music

Contact Info

Product

Resources

About