The LapSlapper - Feel the Beat

Andresen, Mads Stenhøj; Bach, Morten; Kristensen, Kristian Ross

doi:10.1007/978-3-642-15841-4_17

Cited by 4 publications

(6 citation statements)

References 5 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Techniques and strategies for multimodal audio-haptic integration to enhance user interfaces have been introduced in various projects [13][14][15][16][17], including touch surfaces [18,19]. The study presented in this paper introduces a different direction.…”

Section: Modeling User Experience With Soundmentioning

confidence: 98%

Perceived physicality in audio-enhanced force input

Lai

Niinimäki

Tahiroğlu

et al. 2011

Proceedings of the 13th International Conference on Multimodal Interfaces

View full text Add to dashboard Cite

This paper investigates how the perceived physicality of the action of applying force with a finger on a rigid surface (such as on a force-sensing touch screen) can be enhanced using real-time synthesized audio feedback. A selection of rich and evocative audio designs was used. Additionally, audio-tactile cross-modal integration was encouraged, by observing that the main rules of multisensory integration were supported. The study conducted showed that richness of perceived physicality increased considerably, mostly in its auditory expression (what pressing sounded like). In addition, in many instances it was observed that the haptic expression of physicality also increased (what pressing felt like), including some perception of compliance. This last result was particularly interesting as it showed that audio-tactile cross-modal integration might be present.

show abstract

Section: Modeling User Experience With Soundmentioning

confidence: 98%

Perceived physicality in audio-enhanced force input

Lai

Niinimäki

Tahiroğlu

et al. 2011

Proceedings of the 13th International Conference on Multimodal Interfaces

View full text Add to dashboard Cite

show abstract

“…A project that aims to direct feedback to the players arms, rather than the instrument, was carried out by Van der Linden et al (2011), who showed that haptic feedback can be used for training in the posture and bowing of violin students. Work that shares our focus on learning polyphonic rhythms includes the following projects: LapSlapper (Andresen et al 2010), the Programmable Haptic Rhythm Trainer (Ni 2010), and Polyrhythm Hero (McNulty 2009), LapSlapper (Andresen et al 2010) allows players to create midi drum sounds by striking their hands on any available surface, such as the player's own body. This is achieved by using piezo microphones attached to gloves, and optionally in a shoe.…”

Section: Related Workmentioning

confidence: 99%

The Haptic Bracelets: Learning Multi-Limb Rhythm Skills from Haptic Stimuli While Reading

Bouwer

Holland

Dalgleish

2013

Music and Human-Computer Interaction

View full text Add to dashboard Cite

The Haptic Bracelets are a system designed to help people learn multi-limbed rhythms (which involve multiple simultaneous rhythmic patterns) while they carry out other tasks. The Haptic Bracelets consist of vibrotactiles attached to each wrist and ankle, together with a computer system to control them. In this chapter, we report on an early empirical test of the capabilities of this system, and consider design implications. In the pre-test phase, participants were asked to play a series of multi-limb rhythms on a drum kit, guided by audio recordings. Participants' performances in this phase provided a base reference for later comparisons. During the following passive learning phase, away from the drum kit, just two rhythms from the set were silently 'played' to each subject via vibrotactiles attached to wrists and ankles, while participants carried out a 30-minute reading comprehension test. Different pairs of rhythms were chosen for different subjects to control for effects of rhythm complexity. In each case, the two rhythms were looped and alternated every few minutes. In the final phase, subjects were asked to play again at the drum kit the complete set of rhythms from the pre-test, including, of course, the two rhythms to which they had been passively exposed. Pending analysis of quantitative data focusing on accuracy, timing, number of attempts and number of errors, in this chapter we present preliminary findings based on participants' subjective evaluations. Most participants thought that the technology helped them to understand rhythms and to play rhythms better, and preferred haptic to audio to find out which limb to play when. Most participants indicated that they would prefer using a combination of haptics and audio for learning rhythms to either modality on its own. Replies to open questions were analysed to identify design issues, and implications for design improvements were considered. 7

show abstract

“…Work that shares our focus on learning polyphonic rhythms includes the following projects: LapSlapper (Andresen et al 2010), the Programmable Haptic Rhythm Trainer (Ni 2010), and Polyrhythm Hero (McNulty 2009).…”

Section: Related Workmentioning

confidence: 99%

“…LapSlapper (Andresen et al 2010) allows players to create midi drum sounds by striking their hands on any available surface, such as the player's own body. This is achieved by using piezo microphones attached to gloves, and optionally in a shoe.…”

Section: Related Workmentioning

confidence: 99%

See 1 more Smart Citation

Music and Human-Computer Interaction

Holland¹,

Wilkie²,

Mulholland³

et al. 2013

Springer Series on Cultural Computing

View full text Add to dashboard Cite

Musical instruments have a property of long-term engagement: people frequently become so engaged with them that they practice and play them for years, despite receiving no compensation other than enjoyment. We examine this phenomenon by analysing how the intrinsic motives mastery, autonomy, and purpose are built into the design of musical instruments; because, according to the self-determination theory of motivation, these three motives impact whether an activity might be found enjoyable. This analysis resulted in the identification of seven abstract qualities, inherent to the activity of music making or to the design of musical instruments, which contribute to the three intrinsic motives. These seven qualities can be treated as heuristics for the design of human-computer interfaces that have long-term engagement. These heuristics can be used throughout the design process, from the preliminary stage of idea generation to the evaluation stage of finished prototypes. Interfaces with instrument-like long-term engagement would be useful in many applications, both inside and outside the realm of music: they seem particularly suited for applications based on the attainment of long-term goals, which can be found in fields such as physical fitness, rehabilitation, education, and many others. In this chapter, we discuss an interface prototype we created and its pending evaluation. This interface, a rehabilitative rhythm game, serves as a case study showing how the heuristics might be used during the design process.

show abstract

The LapSlapper - Feel the Beat

Cited by 4 publications

References 5 publications

Perceived physicality in audio-enhanced force input

Perceived physicality in audio-enhanced force input

The Haptic Bracelets: Learning Multi-Limb Rhythm Skills from Haptic Stimuli While Reading

Music and Human-Computer Interaction

Contact Info

Product

Resources

About