The high/low frequency balance drives tactile perception of noisy vibrations.

Noisy vibrotactile signals transmitted during tactile explorations of an object provide precious information on the nature of its surface. Understanding the link between signal properties and how they are interpreted by the tactile sensory system remains challenging. In this paper, we investigated human perception of broadband, stationary vibrations recorded during exploration of textures and reproduced using a vibrotactile actuator. Since intensity is a well-established perceptual attribute, we here focused on the relevance of the spectral content. The stimuli were first equalized in perceived intensity and subsequently used to identify the most salient spectral features using dissimilarity estimations between pairs of successive vibration. Based on dimensionally reduced spectral representations, models of dissimilarity ratings showed that the balance between low and high frequencies was the most important cue. Formal validation of this result was achieved through a Mushra experiment, in which participants assessed the fidelity of resynthesized vibrations with various distorted frequency balances. These findings offer valuable insights into human vibrotactile perception and establish a computational framework for analyzing vibrations as humans do. Moreover, they pave the way for signal synthesis and compression based on sparse representations, holding significance for applications involving complex vibratory feedback.

Tactile perception of auditory roughness.

Auditory roughness resulting from fast temporal beatings is often studied by summing two pure tones with close frequencies. Interestingly, the tactile counterpart of auditory roughness can be provided through touch with vibrotactile actuators. However, whether auditory roughness could also be perceived through touch and whether it exhibits similar characteristics are unclear. Here, auditory roughness perception and its tactile counterpart were evaluated using pairs of pure tone stimuli. Results revealed similar roughness curves in both modalities, suggesting similar sensory processing. This study attests to the relevance of such a paradigm for investigating auditory and tactile roughness in a multisensory fashion.

Rhythm perception is shared between audio and haptics.

A surface texture is perceived through both the sound and vibrations produced while being explored by our fingers. Because of their common origin, both modalities have a strong influence on each other, particularly at above 60 Hz for which vibrotactile perception and pitch perception share common neural processes. However, whether the sensation of rhythm is shared between audio and haptic perception is still an open question. In this study, we show striking similarities between the audio and haptic perception of rhythmic changes, and demonstrate the interaction of both modalities below 60 Hz. Using a new surface-haptic device to synthesize arbitrary audio-haptic textures, psychophysical experiments demonstrate that the perception threshold curves of audio and haptic rhythmic gradients are the same. Moreover, multimodal integration occurs when audio and haptic rhythmic gradients are congruent. We propose a multimodal model of rhythm perception to explain these observations. These findings suggest that audio and haptic signals are likely to be processed by common neural mechanisms also for the perception of rhythm. They provide a framework for audio-haptic stimulus generation that is beneficial for nonverbal communication or modern human-machine interfaces.

Estimating Friction Modulation From the Ultrasonic Mechanical Impedance.

Ultrasonic surface-haptic touchscreens produce compelling tactile sensations directly on the users' fingertips. The tactile sensations stem from the modulation of friction produced by acoustic radiation pressure, which reduces the contact between the skin and the glass plate. During this process, some of the vibrations are partly absorbed by the tissues, resulting in a conspicuous change in the vibration amplitude of the plate upon contact with the finger, which manifests as a net change in the system mechanical impedance. In this article, we leverage the observable change of impedance to estimate the acoustic levitation and the frictional force. The self-sensing method utilizes a model of the first principles governing the physical interaction between the plate and the skin, which relies on multi-scale contact theory. The model accurately describes the experimental influence of the amplitude on the observed impedance (i.e., the amount of energy absorbed and reflected) and can be used to estimate the friction coefficient ($R^2=0.93$). These results provide additional evidence of the partial levitation mechanism at play in ultrasonic friction-modulation. This finding can be useful for designing energy-efficient devices and provide design suggestions for using ultrasonic impedance for self-sensing friction forces.

Detection of Friction-Modulated Textures is Limited by Vibrotactile Sensitivity.

Modulation of the frictional force of a fingertip sliding over a surface-haptic device can produce compelling sensations of texture and relief. The virtual sensation is particularly apparent and feel as fixed in space if the stimulus is rigorously correlated with the displacement of the finger. While frictional textures tactually resemble their real counterparts, some exploratory conditions under which the sharpness of the texture declines exist. We postulate that this decline in sharpness is caused by the perceptual limitation of the attempt to interpret the variation in friction as an out-of-plane sinusoidal topography. To investigate these questions, we measured the detection thresholds of sinusoidal friction-modulated gratings for a wide range of spatial periods explored at two different speeds. We compared the results with the detection thresholds, reported in the literature, of real gratings and vibrotactile stimuli. We found that the detection of spatial friction-modulated textures does not follow the same trend as that of real textures but is more similar to the vibrotactile rendering, which is strongly influenced by the exploratory speed. This article provides a better understanding of the perception of friction-modulated textures and provides insight into how to design impactful stimuli on surface-haptic devices.