The Horror of Vibrotactile The Horror of Vibrotactile The Horror of Vibrotactile The Horror of Vibrotactile StimulationStimulationti ti nti ti nCarmen BranjeCarmen Branje

Ryerson - Centre for Learning Technology f T f M h l d University of Toronto - Dept of Mechanical and

Industrial Engineeringg g

Some of the PeopleSome of the People

• Dr Deborah FelsDr. Deborah Fels• Dr. Frank Russo

i• Dr. Maria Karam• Gabe Nespoli• Graham Smith (Artist)• Emily PriceEmily Price

Previous WorkPrevious Work

• Previous work has shown that soundtracks canPrevious work has shown that soundtracks can influence physiological response to film. (Thayer and Levenson 1983(Thayer and Levenson 19831. no audio2 calming documentary music2. calming documentary music3. frightening music

Previous WorkPrevious Work

• A considerable literature exists examining theA considerable literature exists examining the vibrotactile perceptual abilities of humans (e.g., Rothenberg & Verrillo, 1976; Schürmann, g , ; ,Caetano, Hlushchuk, Jousmäki, & Hari, 2006; Verrillo, 1992; Von Bekesy, 1959)

• Von Bekesy (1959) found that eight different qualities of sound (pitch, loudness, volume, q (proughness, direction, distance, on‐and‐off effects and rhythm) all have vibrotactile equivalents. 

Previous WorkPrevious Work

• There are about 8‐10 tactile “notes” withinThere are about 8 10 tactile  notes  within the tactile range (Branje, 2008)

• Large contactors appears to increase• Large contactors appears to increase discrimination ability  (Branje, 2008)Diff i i b i d h h• Differences in timbre can experienced through the tactile channel (Russo, 2008)

Previous WorkPrevious Work

• Some of the emotional content music can beSome of the emotional content music can be conveyed through the tactile channel (Karam, 2008)2008)

• The separation of audio signals onto multiple vibrotactile channels is more effective atvibrotactile channels is more effective at expressing emotional content than using a complete audio signal as vibrotactile stimulicomplete audio signal as vibrotactile stimuli. (Karam, 2008)

Current StudyCurrent Study

• Explore Emoti‐Chair in an film settingExplore Emoti Chair in an film setting• ~60 hearing participants (artificially deafened)

d Ski C d l• Measured Skin Conductance Levels• Mixed Design• Participants exposed to one audio condition• Participants exposed to four film clipsParticipants exposed to four film clips

Audio ConditionsAudio Conditions

1 Silence1. Silence2. Envelope Following Whitenoise3 ib i O l3. Vibrations Only4. Audio Only5. Vibrations Plus Audio

Video ClipsVideo Clips

• 4 clips from popular horror films• 4 clips from popular horror films used, within subject

• Two were “startling” clips T “ f l” li• Two were “suspenseful” clips

ConclusionsConclusions• Evidence presented suggests some of the emotional content of the film sound is conveyed through the Emoti‐Chair

• Further investigation– Different types of clipsyp p– Novelty Effect / Longitudinal Effects– Amplitude vs FrequencyAmplitude vs Frequency– Deaf subjects

h k / Q i ?Thanks / Questions?