Tactile perception and virtual guidance of movement: from

Schedae 2010

Prépublication n° 4 | Fascicule n° 1

Francis G. Lestienne, Francine Thullier, Marie-Charlotte Lepelley « Tactile perception and virtual guidance of movement: from clinical to artistic applications » Schedae, 2010, prépublication n° 4 (fascicule n° 1, p. 49 - 58).

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Tactile perception and virtual guidanceof movement: from clinical to artisticapplications

Francis G. Lestienne1, 2, 3, Francine Thullier1, 2, 3, Marie-Charlotte Lepelley1, 3 Université de Caen Basse-Normandie

1ERT 2002 Rapsodie 2EA 4260 Information, Organisation et Action 3Modesco UMS CNRS 843

Recent studies have demonstrated the effi ciency of a vibrotactile device “Tactile Compass” in

guiding the hand in a pointing task during a blind experiment. Based on this work, the introduction

of tactile information is proposed in terms of tactile semantics, which is a promising avenue towards

better support for man-machine communication in various areas: land navigation guidance, clinical

applications such as rehabilitation, and artistic applications such as dance creations.

De récentes études ont démontrées l’effi cacité d’un dispositif constitué de vibrateurs tactiles

(“Boussole Tactile”) permettant le guidage de la main dans une tâche de pointage en aveugle.

Sur la base de ces travaux, il a été proposé que l’introduction des informations tactiles, en termes

de sémantique tactile, dans la communication homme-machine est une ouverture très encoura-

geante pour des domaines variés : guidage pour la navigation terrestre, applications cliniques

telles que la rééducation et applications artistiques telles que la chorégraphie.

Introduction

An anatomical structure comprising hundreds of segments connected by over eight

hundred muscles makes the human body a very complex organism indeed. This complexity

provides the polyarticular chain with the mechanical underpinning for postural stability and

a host of different, coordinated movements whose virtuosity, skill and elegance are ensured

by the sophisticated fl exibility of a plurimuscular system [LES 88] [LES 97]. The core question

remaining is how the nervous system (NS) reconciles control of motor activity expressed in

three-dimensional space with the existence of the pull of gravity [LEST 88b] [LES 02]. This

fundamental question generates and fuels constant debate, to which biomechanics and

neurophysiology have their own contribution to make.

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Schedae, 2010, prépublication n° 4 (fascicule n° 1, p. 49 - 58).http://www.unicaen.fr/services/puc/ecrire/preprints/preprint0042010.pdf

However, this domain cannot be approached purely in terms of the motor aspect [BON

03]. The perceptual side is of necessity an integral part of any theoretical/experimental

approach to the production of movement [LES 01]. It should be briefl y pointed out that

for organising the positioning or movement of the bodily segments in space the NS is

endowed with specialised interfaces between the organism and the external world: the

sensory receptors [LES 02b] [LES 03].

Four main families of such receptors (Figure 1) can be described [PER 94]. The visual

sensor (1) provides information on the structure and topography of the outside world, while

its peripheral retina also makes it an excellent detector and analyser of optical fl ow [LEJ 06]

[LES 77]. The head’s movements in space can be detected both by the visual system and the

vestibular sensors 1 situated in the inner ear (2), which in combination form a gravito-inertial

focal point that reacts to angular and linear movements of the head. The movements of

the bodily segments and, consequently, articular rotations and variations in the length and

strength of muscles are measured by proprioceptive sensors 2 (3 a, b, c). Finally, the tactile

sensors (4) situated at skin level also contribute to mechano-sensitivity in responding to

deformations of the dermis caused by pressure or friction.

Fig. 1. The four main families of sensory receptors involved in the control of posture and movement (adapted from [PER 94]. Visual (1), vestibular (2), and proprioceptive (3) and tactile (4). See explanation in the text).

1. Vestibular receptors, often described as the balance receptors, comprise two structures: the otolithic or-gans which detect linear acceleration of the head; and the semicircular canals that detect angular accele-ration of the head.

2. Situated in the musculoskeletal system: muscle (muscle spindle 3a), articulation (joint receptor 3b) and ten-don (Golgi tendon organ 3c). Proprioceptive and vestibular sensitivity contribute to kinaesthetic sensitivity (Gk. kines, “ movement”) which provides the brain with information regarding movement, position, the strength of the various bodily segments and bodily orientation

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1 Complementarity of sensory information

It should not be forgotten that as early as 1902 French mathematician Henri Poincaré [POI 68]

pointed out in his philosophical writings – and in particular in Science and Hypothesis – the

role of movement in the genesis of our notion of space. For Poincaré, while movements

take place in three-dimensional space, it is not necessary to represent them in this space,

but only to represent the physical sensations accompanying them . These sensations thus

play a predominant part in the construction of a space that would never have come to exist

without them. In his analysis of the role of visual impressions , Poincaré demonstrates that

visual space is only a part of space and that true space is motor space, and that experience

has taught us that it is convenient to ascribe three dimensions to space .

Regarding the vestibular sensors needed for our sense of direction, it is clear that these

organs exist to warn us of changes taking place in the external world – to detect acceleration

due to movement and rotation of the head – and not to warn us that space is three-dimen-

sional . Through integration of information at neuronal level we deduce the orientation of our

head. Nonetheless, these sensations teach us nothing about the movements of the torso and

limbs relative to the head, nor about the changes of position the latter can undergo. Thus

there is a patent need for complementarity between the muscular and vestibular sensations

[LEJ 04] associated with the tactile ones [KAV 08].

In this context, Poincaré assumed that adequate perception of the orientation of the body

in the environment is based on the integration of signals from different sensory systems.

As a consequence, defi cits in this integration may cause results in substantial errors in the

perception of body orientation.

This hypothesis was confi rmed in studies of the control of posture in weightlessness [CLE

84], [LES 88], In these experiments, astronauts wore a head-mounted optical device in which

they could see a non-structured surface stabilized in respect to the head. Thus, based on

vision, they could not detect the orientation of the body in the space station. When asked

to “stand vertically” to the fl oor with their feet attached to it, astronauts leaned the body

forward by more than 30 deg, while reporting that their body is perpendicular to the fl oor.

In weightlessness, the vestibular system is dysfunctional and its afferent output may not

be used to identify the vertical direction. Tactile perception from the feet is also distorted

compared to that elicited by the body weight during standing on the earth. Therefore,

natural visual, vestibular, and tactile clues allowing one to identify the vertical direction

on the earth were not available in these experiments. EMG analysis had shown (fi g 2) that,

rather than relaxing leg muscles, astronauts actively specifi ed the posture that they consider

vertical. During standing on the earth, the activity of ankle extensors dominates over fl exor

activity [CLE 84] whereas in weightlessness, the activity of ankle fl exors becomes dominant.

With adaptation to weightlessness, the deviation of the body from the vertical to the fl oor

of the spaceship progressively decreased, and the body orientation and the projection of

the body’s centre of gravity approach those observed during standing in normal weight

condition on the earth (Figure 2); [LES 88].

Complementarity of sensory information is necessary not only for correct perception

of the posture but also for an internal representation of the body geometry called the

body scheme [HEA 11]. Adrian [ADR 47] suggested that the body scheme is internally

represented in relation to the external world. More recently, in his book Descartes’Error,

Damasio in 1994 [DAM 99] paraphrased the same idea: “the body, as represented in the

brain, may constitute the indispensable frame of reference for the neural processes that

we experience as the mind…”. He also suggested that in the domain of human action

“ the body is used as a yardstick ”.

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Fig. 2. muscle activity of leg postural muscles and the body orientation of an astronaut in weightlessness (adapted from [LES 88] [LES 88b]). Left panel: EMG activity of the tiblialis anterior (fl exor) and soleus (exten-sor) muscles of the ankle joint. Right diagram: The astronaut’s head was covered with a optical sytem that was lit inside and fi xed in relation to the head (stabilized vision). The feet were attached to the fl oor of the spaceship. The astronaut was instructed to “stand upright” i.e., perpendicular to the fl oor. The 3 left diagrams show the postural orientation 2 days before the fl ight (D-2) and 2 and 7days after the begin-ning of the fl ight (D + 2; D + 7) The vertical lines mark the projection of the body’s center of gravity (CG) on the fl oor.

There are several studies favoring the existence of an internal body scheme that is

preserved as a coherent whole in changing external conditions. In particular, it has been

shown that when asked to draw ellipses in different planes during the fl ight in a spaceship,

subjects orient them in relation to the longitudinal axis of the body [GUR 93], [LIP 02],

regardless of the orientation of the body in the environment. The interpretation of complex

tactile stimuli on the body surface is also preserved in these conditions and the stimuli are

correctly identifi ed in relation to the longitudinal axis of the body [GUR 93b].

2 Sensory substitution and tactile information

Another signifi cant aptitude of the NS has to do with the existence of sensory substitution,

related to the brain’s extreme plasticity. Indeed the brain is able to use information from

an artifi cial receptor in place of that usually transmitted from an intact sense organ [BAC

96]. The classical illustration of sensory substitution is provided by the Braille system, which

allows the blind to read by replacing visual with tactile information.

Advances in the instrumentation technology of sensory substitution have presented

sophisticated tools for compensation of sensory loss such as sight function. One of the

most well known form of sensory substitution devices was Bach-y-Rita’s TVSS (Tactile Vision

Substitution System) that converted the image from a video camera into a tactile image and

coupled it to the tactile receptors on the back of his blind subject. [BAC 69].

Numerous studies of the sensitivity of tactile receptors to vibration have shown that

low-level mechanical vibration is a particularly effective stimulus for activation of the cutane-

ous mechanoreceptors sensitive to mechanical deformations of the skin. Experiment using

“vibro-tactile matrix” has shown that subject can perceive complex tactile stimuli such

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as letters and digits [LEP 05], [LEP 08]. The task of interpretation of these tactile images,

applied to different skin areas under varied condition was not affected by the absence of

the gravitational vertical, although this task is closely associated with mechanisms for the

perception of body confi guration, as well as the spatial orientation of the different body

parts [GUR 93b],

Specifi c role of information of plantar tactile origin in posture control has been demon-

strated in respect of the sole’s front and rear contact points [AND 88], [KAV 99], [KAV 01],

[ROL 02]. In association with kinaesthetic – vestibular and proprioceptive – information, the

tactile mode plays a specifi c part in fi ne posture control [AIM 07] and so contributes to the

construction of the subjective vertical, which itself becomes decisive in orientation control

when visual perception of the vertical has been disturbed [MIT 86].

While tactile receptors appear in the examples just quoted as a sensory modality working

with the vestibular, proprioceptive and visual systems in perception of bodily orientation,

the same receptors can also, after a learning process, play a part in cognitive operations

involving recognition of forms.

3 The tactile compass

Our studies [LEP 05], [LEP 08] [LEP 09] have enabled us to establish the technological and

methodological foundations for an instrument for guiding – or assisting – movement which

draws on the tactile sensory modality springing from the cutaneous mechanoreceptors. The

capacities of these tactile receptors in terms of spatial and temporal encoding are linked

to the extreme sensitivity, acuity and rapidity of our processing of tactile signals [CHO 00]

[CHO 03] [SHI 73] [SKL 99]. On the basis of this cutaneous sensitivity we had the idea of

making use of tactile encoding provided by a matrix or “tactile compass”, a device made

up of vibrotactile microstimulators placed on the surface of the skin and delivering tactile

messages intended to guide movement and aid terrestrial navigation.

The vibrotactile device (Caylar Society ©) (Figure 3) consisted in 49 microvibrators (called

“pins”) laid out in a 7x7 matrix, a battery, a micro-controller and a connector serial port. The

49 microvibrators contained inertial vibrators activated by micromotors (diameter: 2 mm).

The distance between each vibrator was 6 mm. The oscillation frequency of the pins was

50-60 Hz with a magnitude of 2 mm. The tactile messages were provided in a dynamic way

by the successive activation of each pin.

Fig. 3. Two types of tactile compass: “compact” on the left and “distributed” on the right, allowing for confi guration according to anatomical localisation.

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From the work using the Caylar’s vibrotactile device it has emerged that the subjects

had a highly developed ability to recognise “tactile forms” and “tactile images”. The most

signifi cant shaping factors in these studies have a character that is distinctive in terms of

two notions: those of tactile semantics and perceptual learning .

Tactile semantics results from structural representations recognisable not by their (static)

shape, but by a specifi c pattern of (dynamic) movement of points of vibro-tactile stimulation

applied to the skin. The movement of these points thus forms a mnemonic tactile trace

suggesting the appropriate physical action in the light of a set of tactile prescribers:

– directional: left, right, high, low, forward, back, etc.

– cinematic: advance, halt, accelerate, slow down, etc.

– kinesiological: ascend, descend, turn, etc.

Perceptual learning results from cerebral plasticity in the cognitive processing of tactile

encoding. This means that learning is facilitated by the implementation of learning procedures.

Input from new technology – virtual and augmented reality – will assist the development of

original cognitive protocols allowing for the enhancement of perceptual learning.

4 Applicative programs

Recent studies investigated the effi ciency of the Caylar’s vibrotactile device to guide the hand

in a pointing task in a blind experiment. The performances obtained using tactile coding

establish the fact that tactile information transmitted via our vibrotactile device is involved

in the processes of to control movement in tridimensional space [LEP 09]. Based on this

work, it is clear that introduction of tactile information is a promising avenue toward better

supporting human-machine communication in various domains such as navigational spatial

guidance, rehabilitaion, handicap and the artistic community. The applicative aspects are

managed by the ERT 2002 “Rapsodie” a Technological Research Team at the University of

Caen Basse-Normandie 3. Backed by Caylar, the industrial partner, the team works with two

university hospital partners 4 and a partner of the world of culture 5.

4.1 Land Navigation

Several studies have demonstrated the usefulness of tactile modality in multi-task situations:

land navigation [DUI 05], [ELL 06], Vehicle navigation [ROC 00], [VAN 03], [VAN 04], aware-

ness, attention [RAJ 00], [SHI 73]. Likely advantage of tactile guidance we have examined

the feasibility and the effectiveness of tactile interfaces using patterns of vibratory code for

land navigation. In this context, the ERT 2002 initiated an advanced technology program

(Exploratory and Innovative Research 6 ) to develop tactile assistance in navigation on earth

in a hostile environment by means of a “tactile compass” made up of a matrix of micro-

vibrators, that reproduce tactile encoding on skin surface to orient the wearer (Figure 4).

3. www.unicaen.fr/recherche/mrsh/rapsodie4. The Montreal Rehabilitation Institute (affi liated with the University of Montreal) and the Jewish Rehabilita-

tion Hospital (affi liated with McGill University).5. CDA 95.fr: Enghien-les-Bains Art Centre.6. REI 08 C0001 (Délégation Générale à l’Armement).

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Fig. 4. Tactile compass applied to control of terrestrial navigation

4.2 Rehabilitation

We are involved in various projects dealing with sensorimotot rehabilitaion after neurological

injury affecting the contrôle of equilibrium and/or the functional abilities in limb coordination.

Tactile sensorial modality and cerebral plasticity are the most salient elements that form the

context of this project and that allow development of rehabilitation techniques combining

the tactile matrix and virtual reality techniques.

The core instrumentation is the “tactile compass”, integrated in the he AMOSIT plate-

form (Motor Function Assistance through Tactile Sensitivity) that send messages from the

movement sensors. The AMOSIT plateform can have a dual function: assistance in guiding

gesture and assistance in guiding verticality (Figure 5).

Fig. 5. The AMOSIT plateform (Motor Function Assistance through Tactile Sensitivity) makes use of the fas-cination of video games in balance rehabilitation by working via tactility. Miniaturised portable device (left). Fixed training device (right). TC: Tactile compass incorporated into an undershirt. C: Cinematic sensors – incli-nometer – incorporated into a beltT: Transmission of analogue messages (cinematic in this case) towards the tactile compass and a virtual reality helmet activating a 3D clone (coloured silhouette) so as to make it coin-cide with the reference clone (black silhouette)

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4.3 Verticality and tactility, new fi elds of artistic research

Taken in conjunction with the latest technological developments of the “Tactile compass”,

our academic work in relation with the clinical projects means we can foresee new modes

of interaction and communication between art and fundamental science 7 with applications

in the fi eld of sensory handicap. In one instance the application of the academic research to

dance and new technology, in combination with our studies on the guidance of movement

with a “tactile compass”, has found concrete expression in dance works written with the

Pedro Pauwels company 8.

Sens 3 or “Verticalité et Tactilité” is a performance you discover barefoot. In his exploration

of the domain of the sensory, Pedro Pauwels seeks to make tangible movement that must

reconcile the force of gravity with the maintaining of bodily balance. In Sens 3 movement

sensors attached to the performers’ bodies send the audience real-time tactile information

on the dancers’ “verticality”. Reception of the information is effected by a system of vibrators

set in a “tactile cushion” under the spectators’ feet (Figure 6). Sens 3 thus sets up a tactile

communication between performers and spectators which in a way resembles the sign

language of braille, the semantics of which – admittedly very limited – could be likened to

kinesiological prescribers such as lean , turn , crouch , etc.

Fig. 6. Sens 3 “Verticality and Tactility is a choreographic work you discover barefoot.” Motion sensors on the dancers’ bodies provide spectators with real time tactile information on the dancers’ “verticality”. This is done using tactile cushions placed under the spectators’ feet.

7. A partnership agreement signed between the University of Caen and the Enghien-les-Bains Art Centre in 2007 enhances the already close links between art and science via choreographic experiments using the potential of new technology to infl uence the non-visual perception of the body in movement.

8. Francis G. Lestienne and Pedro Pauwels, a choreographer, have set out to make the public share “aug-mented perceptions”. Between the two there sprang up a fruitful collaboration involving two forward-loo-king adaptive dance works, Sens 2 and Sens 3. In Sens 2 the muscle melody of the dancing body generates a non-visual perception of that body via a “recording of its internal noise” – in this case the electromyogra-phic (EMG) activity of the muscles. The sounds obtained are then incorporated into a musical score for the dance piece. Sens 2 enables transcendence of the visual art of dance by using a sound-based “visibility” of gestural poetry to render it complementary. The digitised EMG signals are transformed in real time into sound signals allowing for the upsurge of muscle melodies shot through with “internal emotion”; these melodies can then be perceived by the spectator via the other perceptual channel of hearing.

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Tactile perception and virtual guidance of movement: from