The Effects of Noise on the Location of Point Symbols and Tracking a Line on a Tactile Pseudomap

Design principles for tactile interaction

“…An example application for the delivery of music notation to blind people has been created [1,2]. The system, called Weasel, uses PVC tactile overlays on an Intellikeys touchpad in conjunction with speech output and audio output.…”

“…The system, called Weasel, uses PVC tactile overlays on an Intellikeys touchpad in conjunction with speech output and audio output. Results obtained from the close observation of users working with the system have been used along with existing psychological knowledge on interaction with raised lines [1,2,9], tactile symbols [3,7,11,12] and textures [6,8,10], to create a set of fundamental design principles for tactile interaction.…”

Improved access to museum collections without vision: How museum visitors with very low or no vision perceive and process tactile–auditory pictures

“…The participants were asked to describe how they explored each tactile picture, what attracted their attention and to describe each thing, what they found the most important and why, what they did not find interesting – just ‘scanned over’ – and why; to comment on the amount of details, and to explain where they would have wanted the audio-description and what they would have used the audio-description for (Supplemental Appendix 1; cf. Argyropoulos & Kanari, 2015; Berlá, 1981; Berlá & Butterfield, 1977; Berlá, Butterfield, & Murr, 1976; Berlá & Murr, 1975; Candin, 2003; Cornoldi, Tinti, Mammarella, Re, & Varotto, 2009; Graven, 2018; Heller, 1989; Heller, Kennedy, & Joyner, 1995; Holmes, Hughes, & Jansson, 1998; Jehoel et al, 2006; Millar, 1994, 2008; Millar & Al-Attar, 2003, 2004; Postma, Zuidhoek, Noordzij, & Kappers, 2007; Rowell & Ungar, 2003; Tompson & Cronicle, 2006; Tompson, Cronicle, & Collins, 2003; Ungar, Blades, & Spencer, 1995; Wijntjes & Kappers, 2007).…”

“…Finally, the participants were asked about all audio-description trigger points whether consistency in where they are placed in relation to each element is important (or not, for example, because they would recognise them anyway from one tactile picture and/or element to another), and to explain why (Supplemental Appendix 1; cf. One-on-one sessions 1–6; Group session 7-8, and Berlá, 1981; Berlá & Butterfield, 1977; Berlá et al, 1976; Berlá & Murr, 1975; Cornoldi et al, 2009; Cryer et al, 2011; Graven, 2015, 2016a, 2016b, 2018; Millar, 1977, 1984, 1985, 1987a, 1987b, 1997, 2008; Millar & Al-Attar, 2003, 2004; Nolan & Kederis, 1969; Nolan & Morris, 1971; Postma et al, 2007; Rowell & Ungar, 2003; Ungar et al, 1995; Watanabe & Oouchi, 2003).…”

“…They were then asked to focus on the young man (their hands guided onto the young man on the left picture by the interviewer if needed) and to point out which one picture they preferred and disliked the most and to explain why (Supplemental Appendix 1; cf. Supplemental Appendix 2; One-on-one sessions 1–6; Group session 7-9, and Argyropoulos & Kanari, 2015; Berlá & Murr, 1975; Candin, 2003; Crewdson & Zangwill, 1940; Davidson, 1972; Gordon & Morison, 1982; Graven, 2015, 2016a; Heller, 1989; Heller & Gentaz, 2014; Heller et al, 1995; Holmes et al, 1998; Hunter, 1954; Jehoel et al, 2006; Kennedy & Bai, 2002; Millar, 2008; Pring, 1989; Rowell & Ungar, 2003; Rubin, 1936; Tompson & Cronicle, 2006; Tompson et al, 2003; Voisin, Benoit, & Chapman, 2002; Wijntjes & Kappers, 2007).…”