Most spatially interlacing stereoscopic 3D displays display odd and even rows of an image to either the left or the right eye of the viewer. The visual system then fuses the interlaced image into a single percept. This row-based interlacing creates a small vertical disparity between the images; however, interlacing may also induce horizontal disparities, thus generating depth artifacts. Whether people perceive the depth artifacts and, if so, what is the magnitude of the artifacts are unknown. In this study, we hypothesized and tested if people perceive interlaced edges on different depth levels. We tested oblique edge orientations ranging from 2 degrees to 32 degrees and pixel sizes ranging from 16 to 79 arcsec of visual angle in a depth probe experiment. Five participants viewed the visual stimuli through a stereoscope under three viewing conditions: noninterlaced, interlaced, and row averaged (i.e., where even and odd rows are averaged). Our results indicated that people perceive depth artifacts when viewing interlaced stereoscopic images and that these depth artifacts increase with pixel size and decrease with edge orientation angle. A pixel size of 32 arcsec of visual angle still evoked depth percepts, whereas 16 arcsec did not. Row-averaging images effectively eliminated these depth artifacts. These findings have implications for display design, content production, image quality studies, and stereoscopic games and software.
{"title":"Depth Artifacts Caused by Spatial Interlacing in Stereoscopic 3D Displays","authors":"Jussi H. Hakala, P. Oittinen, J. Häkkinen","doi":"10.1145/2699266","DOIUrl":"https://doi.org/10.1145/2699266","url":null,"abstract":"Most spatially interlacing stereoscopic 3D displays display odd and even rows of an image to either the left or the right eye of the viewer. The visual system then fuses the interlaced image into a single percept. This row-based interlacing creates a small vertical disparity between the images; however, interlacing may also induce horizontal disparities, thus generating depth artifacts. Whether people perceive the depth artifacts and, if so, what is the magnitude of the artifacts are unknown. In this study, we hypothesized and tested if people perceive interlaced edges on different depth levels. We tested oblique edge orientations ranging from 2 degrees to 32 degrees and pixel sizes ranging from 16 to 79 arcsec of visual angle in a depth probe experiment. Five participants viewed the visual stimuli through a stereoscope under three viewing conditions: noninterlaced, interlaced, and row averaged (i.e., where even and odd rows are averaged). Our results indicated that people perceive depth artifacts when viewing interlaced stereoscopic images and that these depth artifacts increase with pixel size and decrease with edge orientation angle. A pixel size of 32 arcsec of visual angle still evoked depth percepts, whereas 16 arcsec did not. Row-averaging images effectively eliminated these depth artifacts. These findings have implications for display design, content production, image quality studies, and stereoscopic games and software.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":"99 1","pages":"3:1-3:13"},"PeriodicalIF":1.6,"publicationDate":"2015-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79489791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Michael Hecher, M. Bernhard, O. Mattausch, D. Scherzer, M. Wimmer
We performed a perceptual user study of algorithms that approximate soft shadows in real time. Although a huge body of soft-shadow algorithms have been proposed, to our knowledge this is the first methodical study for comparing different real-time shadow algorithms with respect to their plausibility and visual appearance. We evaluated soft-shadow properties like penumbra overlap with respect to their relevance to shadow perception in a systematic way, and we believe that our results can be useful to guide future shadow approaches in their methods of evaluation. In this study, we also capture the predominant case of an inexperienced user observing shadows without comparing to a reference solution, such as when watching a movie or playing a game. One important result of this experiment is to scientifically verify that real-time soft-shadow algorithms, despite having become physically based and very realistic, can nevertheless be intuitively distinguished from a correct solution by untrained users.
{"title":"A Comparative Perceptual Study of Soft-Shadow Algorithms","authors":"Michael Hecher, M. Bernhard, O. Mattausch, D. Scherzer, M. Wimmer","doi":"10.1145/2620029","DOIUrl":"https://doi.org/10.1145/2620029","url":null,"abstract":"We performed a perceptual user study of algorithms that approximate soft shadows in real time. Although a huge body of soft-shadow algorithms have been proposed, to our knowledge this is the first methodical study for comparing different real-time shadow algorithms with respect to their plausibility and visual appearance. We evaluated soft-shadow properties like penumbra overlap with respect to their relevance to shadow perception in a systematic way, and we believe that our results can be useful to guide future shadow approaches in their methods of evaluation. In this study, we also capture the predominant case of an inexperienced user observing shadows without comparing to a reference solution, such as when watching a movie or playing a game. One important result of this experiment is to scientifically verify that real-time soft-shadow algorithms, despite having become physically based and very realistic, can nevertheless be intuitively distinguished from a correct solution by untrained users.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":"31 1","pages":"5:1-5:21"},"PeriodicalIF":1.6,"publicationDate":"2014-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87890689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shaojing Fan, Rangding Wang, T. Ng, Cheston Tan, Jonathan S. Herberg, Bryan L. Koenig
Computer-generated (CG) face images are common in video games, advertisements, and other media. CG faces vary in their degree of realism, a factor that impacts viewer reactions. Therefore, efficient control of visual realism of face images is important. Efficient control is enabled by a deep understanding of visual realism perception: the extent to which viewers judge an image as a real photograph rather than a CG image. Across two experiments, we explored the processes involved in visual realism perception of face images. In Experiment 1, participants made visual realism judgments on original face images, inverted face images, and images of faces that had the top and bottom halves misaligned. In Experiment 2, participants made visual realism judgments on original face images, scrambled faces, and images that showed different parts of faces. Our findings indicate that both holistic and piecemeal processing are involved in visual realism perception of faces, with holistic processing becoming more dominant when resolution is lower. Our results also suggest that shading information is more important than color for holistic processing, and that inversion makes visual realism judgments harder for realistic images but not for unrealistic images. Furthermore, we found that eyes are the most influential face part for visual realism, and face context is critical for evaluating realism of face parts. To the best of our knowledge, this work is a first realism-centric study attempting to bridge the human perception of visual realism on face images with general face perception tasks.
{"title":"Human Perception of Visual Realism for Photo and Computer-Generated Face Images","authors":"Shaojing Fan, Rangding Wang, T. Ng, Cheston Tan, Jonathan S. Herberg, Bryan L. Koenig","doi":"10.1145/2620030","DOIUrl":"https://doi.org/10.1145/2620030","url":null,"abstract":"Computer-generated (CG) face images are common in video games, advertisements, and other media. CG faces vary in their degree of realism, a factor that impacts viewer reactions. Therefore, efficient control of visual realism of face images is important. Efficient control is enabled by a deep understanding of visual realism perception: the extent to which viewers judge an image as a real photograph rather than a CG image. Across two experiments, we explored the processes involved in visual realism perception of face images. In Experiment 1, participants made visual realism judgments on original face images, inverted face images, and images of faces that had the top and bottom halves misaligned. In Experiment 2, participants made visual realism judgments on original face images, scrambled faces, and images that showed different parts of faces. Our findings indicate that both holistic and piecemeal processing are involved in visual realism perception of faces, with holistic processing becoming more dominant when resolution is lower. Our results also suggest that shading information is more important than color for holistic processing, and that inversion makes visual realism judgments harder for realistic images but not for unrealistic images. Furthermore, we found that eyes are the most influential face part for visual realism, and face context is critical for evaluating realism of face parts. To the best of our knowledge, this work is a first realism-centric study attempting to bridge the human perception of visual realism on face images with general face perception tasks.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":"1 1","pages":"7:1-7:21"},"PeriodicalIF":1.6,"publicationDate":"2014-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82886944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pressing a virtual button is still the major interaction method in touchscreen mobile phones. Although phones are becoming more and more powerful, operating system software is getting more and more complex, causing latency in interaction. We were interested in gaining insight into touch-feedback simultaneity and the effects of latency on the perceived quality of touchscreen buttons. In an experiment, we varied the latency between touch and feedback between 0 and 300 ms for tactile, audio, and visual feedback modalities. We modelled the proportion of simultaneity perception as a function of latency for each modality condition. We used a Gaussian model fitted with the maximum likelihood estimation method to the observations. These models showed that the point of subjective simultaneity (PSS) was 5ms for tactile, 19ms for audio, and 32ms for visual feedback. Our study included the scoring of perceived quality for all of the different latency conditions. The perceived quality dropped significantly between latency conditions 70 and 100 ms when the feedback modality was tactile or audio, and between 100 and 150 ms when the feedback modality was visual. When the latency was 300ms for all feedback modalities, the quality of the buttons was rated significantly lower than in all of the other latency conditions, suggesting that a long latency between a touch on the screen and feedback is problematic for users. Together with PSS and these quality ratings, a 75% threshold was established to define a guideline for the recommended latency range between touch and feedback. Our guideline suggests that tactile feedback latency should be between 5 and 50 ms, audio feedback latency between 20 and 70 ms, and visual feedback latency between 30 and 85 ms. Using these values will ensure that users will perceive the feedback as simultaneous with the finger's touch. These values also ensure that the users do not perceive reduced quality. These results will guide engineers and designers of touchscreen interactions by showing the trade-offs between latency and user preference and the effects that their choices might have on the quality of the interactions and feedback they design.
{"title":"Towards the Temporally Perfect Virtual Button: Touch-Feedback Simultaneity and Perceived Quality in Mobile Touchscreen Press Interactions","authors":"Topi Kaaresoja, S. Brewster, V. Lantz","doi":"10.1145/2611387","DOIUrl":"https://doi.org/10.1145/2611387","url":null,"abstract":"Pressing a virtual button is still the major interaction method in touchscreen mobile phones. Although phones are becoming more and more powerful, operating system software is getting more and more complex, causing latency in interaction. We were interested in gaining insight into touch-feedback simultaneity and the effects of latency on the perceived quality of touchscreen buttons. In an experiment, we varied the latency between touch and feedback between 0 and 300 ms for tactile, audio, and visual feedback modalities. We modelled the proportion of simultaneity perception as a function of latency for each modality condition. We used a Gaussian model fitted with the maximum likelihood estimation method to the observations. These models showed that the point of subjective simultaneity (PSS) was 5ms for tactile, 19ms for audio, and 32ms for visual feedback. Our study included the scoring of perceived quality for all of the different latency conditions. The perceived quality dropped significantly between latency conditions 70 and 100 ms when the feedback modality was tactile or audio, and between 100 and 150 ms when the feedback modality was visual. When the latency was 300ms for all feedback modalities, the quality of the buttons was rated significantly lower than in all of the other latency conditions, suggesting that a long latency between a touch on the screen and feedback is problematic for users. Together with PSS and these quality ratings, a 75% threshold was established to define a guideline for the recommended latency range between touch and feedback. Our guideline suggests that tactile feedback latency should be between 5 and 50 ms, audio feedback latency between 20 and 70 ms, and visual feedback latency between 30 and 85 ms. Using these values will ensure that users will perceive the feedback as simultaneous with the finger's touch. These values also ensure that the users do not perceive reduced quality. These results will guide engineers and designers of touchscreen interactions by showing the trade-offs between latency and user preference and the effects that their choices might have on the quality of the interactions and feedback they design.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":"38 1","pages":"9:1-9:25"},"PeriodicalIF":1.6,"publicationDate":"2014-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84842058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, a new hypothesis on facial beauty perception is proposed: the weighted average of two facial geometric features is more attractive than the inferior one between them. Extensive evidences support the new hypothesis. We collected 390 well-known beautiful face images (e.g., Miss Universe, movie stars, and super models) as well as 409 common face images from multiple sources. Dozens of volunteers rated the face images according to their attractiveness. Statistical regression models are trained on this database. Under the empirical risk principle, the hypothesis is tested on 318,801 pairs of images and receives consistently supportive results. A corollary of the hypothesis is attractive facial geometric features construct a convex set. This corollary derives a convex hull based face beautification method, which guarantees attractiveness and minimizes the before--after difference. Experimental results show its superiority to state-of-the-art geometric based face beautification methods. Moreover, the mainstream hypotheses on facial beauty perception (e.g., the averageness, symmetry, and golden ratio hypotheses) are proved to be compatible with the proposed hypothesis.
{"title":"A New Hypothesis on Facial Beauty Perception","authors":"Fangmei Chen, Yong Xu, D. Zhang","doi":"10.1145/2622655","DOIUrl":"https://doi.org/10.1145/2622655","url":null,"abstract":"In this article, a new hypothesis on facial beauty perception is proposed: the weighted average of two facial geometric features is more attractive than the inferior one between them. Extensive evidences support the new hypothesis. We collected 390 well-known beautiful face images (e.g., Miss Universe, movie stars, and super models) as well as 409 common face images from multiple sources. Dozens of volunteers rated the face images according to their attractiveness. Statistical regression models are trained on this database. Under the empirical risk principle, the hypothesis is tested on 318,801 pairs of images and receives consistently supportive results. A corollary of the hypothesis is attractive facial geometric features construct a convex set. This corollary derives a convex hull based face beautification method, which guarantees attractiveness and minimizes the before--after difference. Experimental results show its superiority to state-of-the-art geometric based face beautification methods. Moreover, the mainstream hypotheses on facial beauty perception (e.g., the averageness, symmetry, and golden ratio hypotheses) are proved to be compatible with the proposed hypothesis.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":"12 1","pages":"8:1-8:20"},"PeriodicalIF":1.6,"publicationDate":"2014-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79567770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Michele Vicovaro, Ludovic Hoyet, L. Burigana, C. O'Sullivan
Animation budget constraints during the development of a game often call for the use of a limited set of generic motions. Editing operations are thus generally required to animate virtual characters with a sufficient level of variety. Evaluating the perceptual plausibility of edited animations can therefore contribute greatly towards producing visually plausible animations. In this article, we study observers’ sensitivity to manipulations of overarm and underarm biological throwing animations. In the first experiment, we modified the release velocity of the ball while leaving the motion of the virtual thrower and the angle of release of the ball unchanged. In the second experiment, we evaluated the possibility of further modifying throwing animations by simultaneously editing the motion of the thrower and the release velocity of the ball, using dynamic time warping. In both experiments, we found that participants perceived shortened underarm throws to be particularly unnatural. We also found that modifying the thrower's motion in addition to modifying the release velocity of the ball does not significantly improve the perceptual plausibility of edited throwing animations. In the third experiment, we modified the angle of release of the ball while leaving the magnitude of release velocity and the motion of the thrower unchanged, and found that this editing operation is efficient for improving the perceptual plausibility of shortened underarm throws. Finally, in Experiment 4, we replaced the virtual human thrower with a mechanical throwing device (a ramp) and found the opposite pattern of sensitivity to modifications of the release velocity, indicating that biological and physical throws are subject to different perceptual rules. Our results provide valuable guidelines for developers of games and virtual reality applications by specifying thresholds for the perceptual plausibility of throwing manipulations while also providing several interesting insights for researchers in visual perception of biological motion.
{"title":"Perceptual Evaluation of Motion Editing for Realistic Throwing Animations","authors":"Michele Vicovaro, Ludovic Hoyet, L. Burigana, C. O'Sullivan","doi":"10.1145/2617916","DOIUrl":"https://doi.org/10.1145/2617916","url":null,"abstract":"Animation budget constraints during the development of a game often call for the use of a limited set of generic motions. Editing operations are thus generally required to animate virtual characters with a sufficient level of variety. Evaluating the perceptual plausibility of edited animations can therefore contribute greatly towards producing visually plausible animations. In this article, we study observers’ sensitivity to manipulations of overarm and underarm biological throwing animations. In the first experiment, we modified the release velocity of the ball while leaving the motion of the virtual thrower and the angle of release of the ball unchanged. In the second experiment, we evaluated the possibility of further modifying throwing animations by simultaneously editing the motion of the thrower and the release velocity of the ball, using dynamic time warping. In both experiments, we found that participants perceived shortened underarm throws to be particularly unnatural. We also found that modifying the thrower's motion in addition to modifying the release velocity of the ball does not significantly improve the perceptual plausibility of edited throwing animations. In the third experiment, we modified the angle of release of the ball while leaving the magnitude of release velocity and the motion of the thrower unchanged, and found that this editing operation is efficient for improving the perceptual plausibility of shortened underarm throws. Finally, in Experiment 4, we replaced the virtual human thrower with a mechanical throwing device (a ramp) and found the opposite pattern of sensitivity to modifications of the release velocity, indicating that biological and physical throws are subject to different perceptual rules. Our results provide valuable guidelines for developers of games and virtual reality applications by specifying thresholds for the perceptual plausibility of throwing manipulations while also providing several interesting insights for researchers in visual perception of biological motion.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":"36 1","pages":"10:1-10:23"},"PeriodicalIF":1.6,"publicationDate":"2014-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87394400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Visual perception is becoming increasingly important in computer graphics. Research on human visual perception has led to the development of perception-driven computer graphics techniques, where knowledge of the human visual system (HVS) and, in particular, its weaknesses are exploited when rendering and displaying 3D graphics. Findings on limitations of the HVS have been used to maintain high perceived quality but reduce the computed quality of some of the image without this quality difference being perceived. This article investigates the amount of time for which (if at all) such limitations could be exploited in the presence of smell. The results show that for our experiment, adaptation to smell does indeed affect participants’ ability to determine quality difference in the animations. Having been exposed to a smell before undertaking the experiment, participants were able to determine the quality in a similar fashion to the “no smell” condition, whereas without adaptation, participants were not able to distinguish the quality difference.
{"title":"Olfactory Adaptation in Virtual Environments","authors":"Belma Ramic-Brkic, A. Chalmers","doi":"10.1145/2617917","DOIUrl":"https://doi.org/10.1145/2617917","url":null,"abstract":"Visual perception is becoming increasingly important in computer graphics. Research on human visual perception has led to the development of perception-driven computer graphics techniques, where knowledge of the human visual system (HVS) and, in particular, its weaknesses are exploited when rendering and displaying 3D graphics. Findings on limitations of the HVS have been used to maintain high perceived quality but reduce the computed quality of some of the image without this quality difference being perceived. This article investigates the amount of time for which (if at all) such limitations could be exploited in the presence of smell. The results show that for our experiment, adaptation to smell does indeed affect participants’ ability to determine quality difference in the animations. Having been exposed to a smell before undertaking the experiment, participants were able to determine the quality in a similar fashion to the “no smell” condition, whereas without adaptation, participants were not able to distinguish the quality difference.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":"70 1","pages":"6:1-6:16"},"PeriodicalIF":1.6,"publicationDate":"2014-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84103090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A study on the role of cutaneous and kinesthetic force feedback in teleoperation is presented. Cutaneous cues provide less transparency than kinesthetic force, but they do not affect the stability of the teleoperation system. On the other hand, kinesthesia provides a compelling illusion of telepresence but affects the stability of the haptic loop. However, when employing common grounded haptic interfaces, it is not possible to independently control the cutaneous and kinesthetic components of the interaction. For this reason, many control techniques ensure a stable interaction by scaling down both kinesthetic and cutaneous force feedback, even though acting on the cutaneous channel is not necessary. We discuss here the feasibility of a novel approach. It aims at improving the realism of the haptic rendering, while preserving its stability, by modulating cutaneous force to compensate for a lack of kinesthesia. We carried out two teleoperation experiments, evaluating (1) the role of cutaneous stimuli when reducing kinesthesia and (2) the extent to which an overactuation of the cutaneous channel can fully compensate for a lack of kinesthetic force feedback. Results showed that, to some extent, it is possible to compensate for a lack of kinesthesia with the aforementioned technique, without significant performance degradation. Moreover, users showed a high comfort level in using the proposed system.
{"title":"Improving Transparency in Teleoperation by Means of Cutaneous Tactile Force Feedback","authors":"C. Pacchierotti, Asad Tirmizi, D. Prattichizzo","doi":"10.1145/2604969","DOIUrl":"https://doi.org/10.1145/2604969","url":null,"abstract":"A study on the role of cutaneous and kinesthetic force feedback in teleoperation is presented. Cutaneous cues provide less transparency than kinesthetic force, but they do not affect the stability of the teleoperation system. On the other hand, kinesthesia provides a compelling illusion of telepresence but affects the stability of the haptic loop. However, when employing common grounded haptic interfaces, it is not possible to independently control the cutaneous and kinesthetic components of the interaction. For this reason, many control techniques ensure a stable interaction by scaling down both kinesthetic and cutaneous force feedback, even though acting on the cutaneous channel is not necessary.\u0000 We discuss here the feasibility of a novel approach. It aims at improving the realism of the haptic rendering, while preserving its stability, by modulating cutaneous force to compensate for a lack of kinesthesia. We carried out two teleoperation experiments, evaluating (1) the role of cutaneous stimuli when reducing kinesthesia and (2) the extent to which an overactuation of the cutaneous channel can fully compensate for a lack of kinesthetic force feedback. Results showed that, to some extent, it is possible to compensate for a lack of kinesthesia with the aforementioned technique, without significant performance degradation. Moreover, users showed a high comfort level in using the proposed system.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":"40 1","pages":"4:1-4:16"},"PeriodicalIF":1.6,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82871514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We investigated gesture description of sound stimuli performed during a listening task. Our hypothesis is that the strategies in gestural responses depend on the level of identification of the sound source and specifically on the identification of the action causing the sound. To validate our hypothesis, we conducted two experiments. In the first experiment, we built two corpora of sounds. The first corpus contains sounds with identifiable causal actions. The second contains sounds for which no causal actions could be identified. These corpora properties were validated through a listening test. In the second experiment, participants performed arm and hand gestures synchronously while listening to sounds taken from these corpora. Afterward, we conducted interviews asking participants to verbalize their experience while watching their own video recordings. They were questioned on their perception of the listened sounds and on their gestural strategies. We showed that for the sounds where causal action can be identified, participants mainly mimic the action that has produced the sound. In the other case, when no action can be associated with the sound, participants trace contours related to sound acoustic features. We also found that the interparticipants’ gesture variability is higher for causal sounds compared to noncausal sounds. Variability demonstrates that, in the first case, participants have several ways of producing the same action, whereas in the second case, the sound features tend to make the gesture responses consistent.
{"title":"The Role of Sound Source Perception in Gestural Sound Description","authors":"Baptiste Caramiaux, Frédéric Bevilacqua, Tommaso Bianco, Norbert Schnell, Olivier Houix, P. Susini","doi":"10.1145/2536811","DOIUrl":"https://doi.org/10.1145/2536811","url":null,"abstract":"We investigated gesture description of sound stimuli performed during a listening task. Our hypothesis is that the strategies in gestural responses depend on the level of identification of the sound source and specifically on the identification of the action causing the sound. To validate our hypothesis, we conducted two experiments. In the first experiment, we built two corpora of sounds. The first corpus contains sounds with identifiable causal actions. The second contains sounds for which no causal actions could be identified. These corpora properties were validated through a listening test. In the second experiment, participants performed arm and hand gestures synchronously while listening to sounds taken from these corpora. Afterward, we conducted interviews asking participants to verbalize their experience while watching their own video recordings. They were questioned on their perception of the listened sounds and on their gestural strategies. We showed that for the sounds where causal action can be identified, participants mainly mimic the action that has produced the sound. In the other case, when no action can be associated with the sound, participants trace contours related to sound acoustic features. We also found that the interparticipants’ gesture variability is higher for causal sounds compared to noncausal sounds. Variability demonstrates that, in the first case, participants have several ways of producing the same action, whereas in the second case, the sound features tend to make the gesture responses consistent.","PeriodicalId":50921,"journal":{"name":"ACM Transactions on Applied Perception","volume":"100 1","pages":"1:1-1:19"},"PeriodicalIF":1.6,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78247205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"计算机科学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rui I. Wang, Brandon Pelfrey, A. Duchowski, D. House
This article summarizes our previous work on developing an online system to allow the estimation of 3D gaze depth using eye tracking in a stereoscopic environment. We report on recent extensions allowing us to report the full 3D gaze position. Our system employs a 3D calibration process that determines the parameters of a mapping from a naive depth estimate, based simply on triangulation, to a refined 3D gaze point estimate tuned to a particular user. We show that our system is an improvement on the geometry-based 3D gaze estimation returned by a proprietary algorithm provided with our tracker. We also compare our approach with that of the Parameterized Self-Organizing Map (PSOM) method, due to Essig and colleagues, which also individually calibrates to each user. We argue that our method is superior in speed and ease of calibration, is easier to implement, and does not require an iterative solver to produce a gaze position, thus guaranteeing computation at the rate of tracker acquisition. In addition, we report on a user study that indicates that, compared with PSOM, our method more accurately estimates gaze depth, and is nearly as accurate in estimating horizontal and vertical position. Results are verified on two different 4D eye tracking systems, a high accuracy Wheatstone haploscope and a medium accuracy active stereo display. Thus, it is the recommended method for applications that primarily require gaze depth information, while its ease of use makes it suitable for many applications requiring full 3D gaze position.
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