How Does It Feel Like? An Exploratory Study of a Prototype System to Convey Emotion through Haptic Wearable Devices

Mazzoni, Antonella; Bryan-Kinns, Nick

doi:10.4108/icst.intetain.2015.259625

Cited by 14 publications

(7 citation statements)

References 12 publications

(13 reference statements)

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“…Table A.4 reports the results from the Wilcoxon Signed-Ranks Test for both the valence and the arousal dimensions, describing pairs of patterns which resulted significantly different. Visual representations of the arousal and valence average ratings, and confusion matrix for the pairs of patterns which reported significance differences in the Wilcoxon Signed-Ranks test are available in Mazzoni and Bryan-Kinns [32].…”

Section: Resultsmentioning

confidence: 99%

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Mood Glove: A haptic wearable prototype system to enhance mood music in film

Mazzoni

Bryan-Kinns

2016

Entertainment Computing

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This is an exploratory work aimed at enhancing mood music in film entertainment. We present the design and implementation of a haptic wearable prototype system which aims to amplify mood music in film through haptic sensations (vibrotactile feedback). This approach also could potentially have implications for hearing-impaired audiences, providing a new enriched emotional experience while watching a movie. This paper reports on a set of three studies conducted to assess whether vibrotactile stimuli are able to enhance moods. Preliminary findings show that vibrotacile stimuli at low intensity and low frequency induce a sense of calmness in users, whereas vibrotactile stimuli at low intensity but higher frequency increased excitement. The combination of high intensity and high frequency vibrotactile stimuli heightened tension on the other hand. These findings support our position that vibrotactile feedback could be used to enrich the emotional aspects of cinematic experience through haptic sensations.

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Section: Resultsmentioning

confidence: 99%

“…Actuators intensity and frequency is controlled through manipulation of the PWM signal as in Frid et al [34]. For further discussion of the significance of the results see [32]. This user study informed the next step of this work, in which participants sensed haptic patterns while watching movie clips, for a cross-modal experience.…”

Section: Discussionmentioning

confidence: 97%

Mood Glove: A haptic wearable prototype system to enhance mood music in film

Mazzoni

Bryan-Kinns

2016

Entertainment Computing

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“…A haptic device employs technology that delivers haptic feedback, i.e., potentially both kinaesthetic and tactile feedback. Haptics have become ubiquitous today and are commonly found in mobile phones and tablet devices (Mazzoni and Bryan-Kinns 2015a).…”

Section: Replicating Tactile Feedback With Haptic Music Playersmentioning

confidence: 99%

Feeling Connected: The Role of Haptic Feedback in VR Concerts and the Impact of Haptic Music Players on the Music Listening Experience

Venkatesan

Wang

2023

Arts

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Today, some of the most widely attended concerts are in virtual reality (VR). For example, the videogame Fortnite recently attracted 12.3 million viewers sitting in homes all over the world to a VR Travis Scott rap concert. As such VR concerts become increasingly ubiquitous, we are presented with an opportunity to design more immersive virtual experiences by augmenting VR with other multisensory technologies. Given that sound is a multi-modal phenomenon that can be experienced sonically and vibrationally, we investigated the importance of haptic feedback to musical experiences using a combination of qualitative and empirical methodologies. Study 1 was a qualitative study demonstrating that, unlike their live counterparts, current VR concerts make it harder for audiences to form a connection with artists and their music. Furthermore, VR concerts lack multisensory feedback and are perceived as less authentic than live concert experiences. Participants also identified a variety of different kinds of touch that they receive at live concerts and suggested that ideal VR concerts would replicate physical touch and thermal feedback from the audience, emotional touch, and vibrations from the music. Specifically, users advocated for the use of haptic devices to increase the immersiveness of VR concert experiences. Study 2 isolated the role of touch in the music listening experience and empirically investigated the impact of haptic music players (HMPs) on the audio-only listening experience. An empirical, between-subjects study was run with participants either receiving vibrotactile feedback via an HMP (haptics condition) or no vibrotactile feedback (control) while listening to music. Results indicated that listening to music while receiving vibrotactile feedback increased participants’ sense of empathy, parasocial bond, and loyalty towards the artist, while also decreasing participants’ feelings of loneliness. The connection between haptics condition and these dependent variables was mediated by the feeling of social presence. Study 2 thus provides initial evidence that HMPs may be used to meet people’s need for connection, multisensory immersion, and complex forms of touch in VR concerts as identified in Study 1.

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“…They found that users were able to both recognize and communicate emotions beyond chance through the haptic joystick. In a study by Mazzoni and Bryan-Kinns (2015), the design and evaluation of a haptic glove for mapping emotions evoked by music were found to reliably convey pleasure and arousal. Bonnet et al (2011) found that facial expression emotion recognition was improved when utilizing a "visio-haptic" platform for virtual avatars and a haptic arm joystick.…”

Section: Stimuli and Perceptionmentioning

confidence: 99%