Designing Large Sets of Haptic Icons with Rhythm

Ternes, David; MacLean, Karon E.

doi:10.1007/978-3-540-69057-3_24

Cited by 121 publications

(90 citation statements)

References 15 publications

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“…Roughness or texture has also been widely studied in the audio domain [106] [67] [140] [43]. Unlike the tactile modality, there are many ways to create multidimensional roughness in audio feedback.…”

Section: Experiments 1a: Crossmodal Roughnessmentioning

confidence: 99%

“…Audio roughness created with flutter tonguing [140] -the musical technique of flutter tonguing is said to create a rough tone. It is accomplished using either the tongue or ventricular folds (false vocal folds) and it simply amounts to the addition of a 15 -30 Hz signal to the breath pressure.…”

Section: Experiments 1a: Crossmodal Roughnessmentioning

confidence: 99%

“…Audio roughness created with amplitude modulation [140] [43]-exactly the same as tactile roughness for example, a 250Hz sine wave modulated by a 50Hz or 30Hz sine wave as shown in Figure 4-7. Terhardt [140] reported that audio roughness can be created by amplitude modulation, and also by frequency modulation or audio beating (the pulsing sound which occurs when two tones, close in frequency, are played simultaneously).…”

Section: Experiments 1a: Crossmodal Roughnessmentioning

confidence: 99%

“…Terhardt [140] reported that audio roughness can be created by amplitude modulation, and also by frequency modulation or audio beating (the pulsing sound which occurs when two tones, close in frequency, are played simultaneously). He reported that the most important factors affecting the perceived roughness of amplitudemodulated signals are modulation frequency and modulation depth.…”

Section: Experiments 1a: Crossmodal Roughnessmentioning

confidence: 99%

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Crossmodal Audio and Tactile Interaction with Mobile Touchscreens

Hoggan

2010

International Journal of Mobile Human Computer Interaction

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Touchscreen mobile devices often use cut-down versions of desktop user interfaces placing high demands on the visual sense that may prove awkward in mobile settings. The research in this thesis addresses the problems encountered by situationally impaired mobile users by using crossmodal interaction to exploit the abundant similarities between the audio and tactile modalities. By making information available to both senses, users can receive the information in the most suitable way, without having to abandon their primary task to look at the device.This thesis begins with a literature review of related work followed by a definition of crossmodal icons. Two icons may be considered to be crossmodal if and only if they provide a common representation of data, which is accessible interchangeably via different modalities. Two experiments investigated possible parameters for use in crossmodal icons with resultsshowing that rhythm, texture and spatial location are effective.A third experiment focused on learning multi-dimensional crossmodal icons and the extent to which this learning transfers between modalities. The results showed identification rates of 92% for three-dimensional audio crossmodal icons when trained in the tactile equivalents, and identification rates of 89% for tactile crossmodal icons when trained in the audio equivalent.Crossmodal icons were then incorporated into a mobile touchscreen QWERTY keyboard.Experiments showed that keyboards with audio or tactile feedback produce fewer errors and greater speeds of text entry compared to standard touchscreen keyboards. The next study examined how environmental variables affect user performance with the same keyboard. The data showed that each modality performs differently with varying levels of background noise or vibration and the exact levels at which these performance decreases occur were established.The final study involved a longitudinal evaluation of a touchscreen application, CrossTrainer, focusing on longitudinal effects on performance with audio and tactile feedback, the impact of context on performance and personal modality preference. The results show that crossmodal audio and tactile icons are a valid method of presenting information to situationally impaired mobile touchscreen users with recognitions rates of 100% over time.This thesis concludes with a set of guidelines on the design and application of crossmodal audio and tactile feedback to enable application and interface designers to employ such feedback in all systems.

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Section: Experiments 1a: Crossmodal Roughnessmentioning

confidence: 99%

Section: Experiments 1a: Crossmodal Roughnessmentioning

confidence: 99%

Section: Experiments 1a: Crossmodal Roughnessmentioning

confidence: 99%

Section: Experiments 1a: Crossmodal Roughnessmentioning

confidence: 99%

See 2 more Smart Citations

Crossmodal Audio and Tactile Interaction with Mobile Touchscreens

Hoggan

2010

International Journal of Mobile Human Computer Interaction

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“…Ternes et al found that there is a noticeable difference in the perception when the stimulus is presented through the hand versus over the back [4]. As a result, several researches have analysed the perception of tactile information passed through the hand, the wrist or the back [5].…”

Section: Introductionmentioning

confidence: 99%

A Serious Game for the Learning of Vibrotactile Feedbacks Presented under the Foot: How Many and How Fast?

Gagnon

Otis

Ménélas

2013

Serious Games Development and Applications

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Abstract. Vision and auditory channels are often used to convey information quickly. Knowing that hearing and vision are generally loaded with plenty of stimuli, the use of touch as an alternative medium of communication could unload those senses. Although many studies have been conducted on hapic icons or tactile icons, few of them have focused on the foot as a medium of communication. This paper particularly investigate the maximum number of vibrotactile messages that could be memorized when displayed under the foot. The method is based on a daily training wrapped in a serious game. In the latter, the avatar must be led to different locations through risky path. Risky events are displayed along the route through vibrotactile feedbacks, which have to be identified by the player. A preliminary experiment shows the usability of this serious game for learning a large number of vibrotactile stimuli.

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Interaction with an autostereoscopic touch screen: effect of occlusion on subjective experiences when pointing to targets in planes of different depths

2012

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It is well known that the usability of a typical touch screen depends on several parameters, including interface design, device characteristics, and input operations. However, there is virtually no knowledge regarding how people evaluate interaction with 3D display‐integrated touch screen. Twenty‐one participants were asked to use standard touch screen to point to targets in planes of different planes on an autostereoscopic display and evaluate how natural and easy this action was. Clear differences in pointing experiences across depth levels and input operators were found. Pointing to targets in a back plane was reported to be more natural and easier than the same action with targets in a front plane. The use of finger input was less unnatural than the use of a stylus, but the use of stylus with icons in the front plane was more fun and entertaining.

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Designing Large Sets of Haptic Icons with Rhythm

Cited by 121 publications

References 15 publications

Crossmodal Audio and Tactile Interaction with Mobile Touchscreens

Crossmodal Audio and Tactile Interaction with Mobile Touchscreens

A Serious Game for the Learning of Vibrotactile Feedbacks Presented under the Foot: How Many and How Fast?

Interaction with an autostereoscopic touch screen: effect of occlusion on subjective experiences when pointing to targets in planes of different depths

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