Vibrotactile Display of Music on the Human Back

Branje, Carmen; Maksimouski, Michael; Karam, Maria; Fels, Deborah I.; Russo, Frank A.

doi:10.1109/achi.2010.40

Cited by 19 publications

(20 citation statements)

References 14 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Though the tempo can be easily accessed through vibration, pitch perception proves to be more limited. Discrimination thresholds for frequencies are much larger for vibrotactile than for auditory presentations, and discriminations are limited to frequencies below about 1000 Hz [ 67 , 68 ]. However, the majority of these findings are based on research involving hearing participants.…”

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

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

show abstract

“…Another issue is the contactor diameter and placement of the vibration devices. Branje et al [25] claim that contactors over 100 mm in diameter are effective for producing distinguishable independent signals on human back, which is non-glabrous skin, but the researchers used a single contactor. Weinstein [26] discusses his findings of the human tactile spatial acuity using two-point discrimination experiments.…”

Section: Vibrotactile Perceptionmentioning

confidence: 99%

Designing and Evaluating a Composition Software Interface with Vibrotactile Notation System

Nam¹

2021

Preprint

View full text Add to dashboard Cite

Vibrotactile stimulation can be used as a substitute for audio or visual stimulation for people who are deaf or blind. In order to do this, new tools must be developed and evaluated that support the creation and experience of vibration on the skin. In this paper, a vibrotactile composition tool, the “Beadbox”, along with the results of a user study will be described. Beadbox is a vibrotactile notation system and software tool, which helps users to create and record a vibrotactile art composition. It allows users to control the four essential vibrotactile technical elements: (1) frequency; (2) intensity; (3) temporal information; and (4) spatial information consists of how the vibrotactile signal is distributed on the human body. A user study designed to evaluate the usability and support for creative expression of Beadbox. Results from the user study indicate that the Beadbox is easy to use, and viable for vibrotactile composition.

show abstract

“…According to Branje, the just-noticeable difference of human skin is 200 cents, with a maximum of 1000Hz; however, auditory music contains frequencies above 1000Hz. This means Emoti-Chair users are missing 19,000Hz of the music (Branje, Maksimouski, Karam, Fels, & Russo, 2010). While Emoti-Chair users are able to distinguish differences between frequencies as low as 200 cents and consistently distinguish frequency differences below 400 cents (one-CHAPTER 2.…”

Section: Tactilementioning

confidence: 99%

Making the invisible visible: visualization of music and lyrics for deaf and hard of hearing audiences

Fourney¹

2021

Preprint

View full text Add to dashboard Cite

Music is a major art form present in all cultures. It is nearly ubiquitous in Western culture. As a shared social experience, music is a shared knowledge space. Some music is so well recognized that people may refer to it by name (e.g., Beethoven’s 5th symphony, the Star Wars theme). Signing Deaf communities have indigenous forms of lyrical music. While these may not be melodic in the Western expectation, they still conform to the idea of music as metrical lyrics accompanied by instrumentation. Music is a system made up of several elements and attributes containing discrete information chunks that can be perceived by a human listener. Music communicates complex emotional signals and, in some cultures, has specific conventions designed to manipulate emotions. However, deaf, deafened, and hard of hearing people are unable to fully access the richness of the aural musical experience. This dissertation explores ways to make information that is presented in an auditory modality accessible to those who cannot fully perceive it due to hearing loss or environmental barriers; making the invisible visible. A multi-disciplinary, multi-method project, this research examines the design of visualizations intended to present different kinds of otherwise invisible music information in a visible, entertaining form. Ninety-four people, 66 women and 28 men, who identified themselves as Hard of Hearing (46), Deaf (38), Cochlear Implantees (8), or Deafened (2), participated in one of four experiments. Eight of the 94 participated in a fifth experiment. Research questions included determining the fundamental properties of music that visualizations must present, determining what emotional responses users might have to visualizations of music information, and determining whether a music experience similar to that of hearing audiences can be experienced via visualizations of music information. Among several findings, this project learned that many deaf, deafened and hard of hearing people are active consumers of music; lyrics represent a key piece of music information hard of hearing people require of any visualization; different visualizations might be better suited to different musical genres or emotional moods; and the set of music visualizations tested convey some types of emotional information but do not obviously communicate the emotional component of the music.

show abstract

Vibrotactile Display of Music on the Human Back

Cited by 19 publications

References 14 publications

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

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

Designing and Evaluating a Composition Software Interface with Vibrotactile Notation System

Making the invisible visible: visualization of music and lyrics for deaf and hard of hearing audiences

Contact Info

Product

Resources

About