Sensory evaluation of fabric touch by free modulus magnitude estimation

Cho, Gilsoo; Kim, Chunjeong; Casali, John G.

doi:10.1007/bf02912662

Cited by 14 publications

(10 citation statements)

References 3 publications

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“…Table I lists the characteristics of the fabrics. To upgrade sound generation, fabric sounds were generated by a measuring apparatus for fabric noise (MAFN) completed by upgrading the sound generator used in previous works [3,2,13]. The MAFN was patented in 2000 in Korea as a utility model with the application number 0212605.…”

Section: Methodsmentioning

confidence: 99%

A Fabric Sound Evaluation System for Totally Auditory-Sensible Textiles

Cho

나영주

et al. 2002

Textile Research Journal

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In order to provide a fabric sound evaluation system for designing auditory-sensible fabrics, sound parameters are obtained, including the level pressure of total sound (LPT), sound color factors (Δ L and Δ f ), three coefficients (ARC, ARF, ARE) of autoregressive models based on the fast fourier transform spectrum, loudness(Z) and sharpness(Z) from Zwicker's psychoacoustic models, and mechanical properties from KES values for wool suiting fabrics. As psychophysical characteristics, subjective sensations of softness, loudness, sharpness, clearness, roughness, highness, and pleasantness of the fabric sounds are evaluated by the free modulus magnitude estimation. Tropical wool has the lowest loudness(Z) and the highest Δ L value among the fabrics. Melton, a thicker and heavier woolen, shows a trend similar to saxony and flannel for sound parameters. Wool suiting fabrics have higher scores for loudness and highness rather than clearness and pleasantness, except for tropical wool, which has the highest scores for pleasantness among the fabrics. Using the modified stepwise regression of Kawabata, all sensations are predicted by both sound parameters and mechanical properties. The sound sensation of wool suiting fabrics is related mainly to tensile, surface, and shear properties in mechanical measurements and with autoregressive coefficients as sound parameters.Fabric sounds have recently attracted both researchers and manufacturers of textiles and apparel. Fabric sound affects the sensorial comfort of clothing [ I ]. Because consumers are interested in the sensorial qualities of fabrics, auditory-sensible textile products are expected to broaden the market now more than at any other time. The tactile and visual aesthetic performance of textiles is already commonly understood, but auditory-sensible textiles are in the early stages of development and production. There have been only a few reports on fabric sound: Fukuhara reported that two edges of a micro-slit in a trilobal-shaped cross section of a polyester fiber imitate silk-scrooping [4]. To develop textile products with auditory comfort for the sensory satisfaction of consumers, however, the physical characteristics of fabrics that can be measured should be identified for application in the manufacturing process. In previous studies [2, 31, we discussed the relationship between the physical characteristics of fabric sounds and the mechanical properties of the fabrics. In addition, we observed some physiological responses to the rubbing sounds of several fabrics, including silk and polyester, in order to determine the relationship between objective physical measurements and human physiological attributes [13]. An approach by Pollard [9] proposed that complex sounds such as music may be determined by following three levels of sound analysis-physical, psycho-physical, and feature analysis. According to this suggestion, fabric sound can be, subjected to psycho-physical and feature analysis as well as physical analysis, indicating the usefulness of h...

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Section: Methodsmentioning

confidence: 99%

A Fabric Sound Evaluation System for Totally Auditory-Sensible Textiles

Cho

나영주

et al. 2002

Textile Research Journal

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“…In the pairwise dissimilarity listening test, partici pants were asked to compare all the pairs among the 24 sound stimuli using the free magnitude estimation m ethod (Bensma'ia & Hollins, 2005;Cho, Kim, & Casali, 2002;DeCarlo & Cross, 1990;Green et al, 1996;Marks, 1980;Stevens, 1971;Yoshioka et al, 2007). Therefore, they rated the perceptual distances of 300 pairs (same pairs included) by freely typing in a number of their choice to represent dissimilarity of each pair (i.e., an unbounded scale) with 0 indicating a same pair.…”

Section: Methodsmentioning

confidence: 99%

An Interlanguage Unification of Musical Timbre

2015

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T h e c u r r e n t s t u d y e x p a n d s o u r p r e v i o u s work on interlanguage musical tim bre semantics by examining the relationship between semantics and per ception of timbre. Following Zacharakis, Pastiadis, and Reiss (2014), a pairwise dissimilarity listening test involv ing participants from two separate linguistic groups (Greek and English) was conducted. Subsequent multidi mensional scaling analysis produced a 3D perceptual tim bre space for each language. The comparison between perceptual spaces suggested that timbre perception is unaffected by native language. Additionally, comparisons between semantic and perceptual spaces revealed sub stantial similarities which suggest that verbal descriptions can convey a considerable amount of perceptual informa tion. The previously determined semantic labels "auditory texture" and "luminance" featured the highest associa tions with perceptual dimensions for both languages. "Auditory mass" failed to show any strong correlations. Acoustic analysis identified energy distribution of har monic partials, spectral detail, temporal/spectrotemporal characteristics and the fundamental frequency as the most salient acoustic correlates of perceptual dimensions.

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“…Such communication is increasingly digital, therefore we intend our methodology to inform digital communication around the tactile properties of textiles (Hughes et al, 2012) and inform the presentation of digital textile swatches, particularly for touch screen devices (Atkinson et al, 2013;Orzechowski et al, 2011;Petreca et al, 2013). We believe that perception of textile hand is a truly multi-modal experience (Cho et al, 2002;Citrin et al, 2003) and will next investigate the use of other modalities such as images, sounds and even physiological changes.…”

Section: Future Workmentioning

confidence: 99%

The tactile triangle: a design research framework demonstrated through tactile comparisons of textile materials

Atkinson¹,

Baurley

Petreca

et al. 2016

JDR

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Tactile experiences of textile materials are difficult to communicate and elicit. To interrogate this space we propose the tactile triangle, a framework to facilitate systematic analysis and comparison of tactile experiences. The three levels reflect different aspects of tactile experience and possible methods to capture them: physical properties, in which human senses or objective testing measure fabric properties; the perceptual space level in which triadic comparisons reveal combinations of various dimensions which capture and describe tactile experiences; and finally the communication level, in which design games elicit languages communicating tactile perceptions. A case study illustrates the framework's use to compare the tactile experiences of textiles in experts and consumers. The results show expert and consumer perceptions overlapped and correlated well to objective measures except in the perception of temperature. We conclude by discussing the framework's effectiveness, the contribution of individual methods, and its potential as a communication tool for designers.Keywords: textile; fabric; sensory; touch; perception; aesthetics. Biographical notes: Douglas Atkinson is a Research Fellow at The Digital Anthropology Lab, London College of Fashion. His work explores how the digital can be used to infer and represent sensory and emotional aspects of human experience, which are crucial to our identities, relationships to fashion items and the experience of fashion makers. In parallel, he investigates the changes in contemporary design practice due to increasing detachment from material experience. He has previously conducted RCUK, ESRC and EPSRC

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Sensory evaluation of fabric touch by free modulus magnitude estimation

Cited by 14 publications

References 3 publications

A Fabric Sound Evaluation System for Totally Auditory-Sensible Textiles

A Fabric Sound Evaluation System for Totally Auditory-Sensible Textiles

An Interlanguage Unification of Musical Timbre

The tactile triangle: a design research framework demonstrated through tactile comparisons of textile materials

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