The dominance of haptics over audition in controlling wrist velocity during striking movements.
Identifieur interne : 000122 ( PubMed/Curation ); précédent : 000121; suivant : 000123The dominance of haptics over audition in controlling wrist velocity during striking movements.
Auteurs : Yinan Cao [Royaume-Uni] ; Bruno L. Giordano [Royaume-Uni] ; Federico Avanzini [Italie] ; Stephen Mcadams [Canada]Source :
- Experimental brain research [ 1432-1106 ] ; 2016.
Abstract
Skilled interactions with sounding objects, such as drumming, rely on resolving the uncertainty in the acoustical and tactual feedback signals generated by vibrating objects. Uncertainty may arise from mis-estimation of the objects' geometry-independent mechanical properties, such as surface stiffness. How multisensory information feeds back into the fine-tuning of sound-generating actions remains unexplored. Participants (percussionists, non-percussion musicians, or non-musicians) held a stylus and learned to control their wrist velocity while repeatedly striking a virtual sounding object whose surface stiffness was under computer control. Sensory feedback was manipulated by perturbing the surface stiffness specified by audition and haptics in a congruent or incongruent manner. The compensatory changes in striking velocity were measured as the motor effects of the sensory perturbations, and sensory dominance was quantified by the asymmetry of congruency effects across audition and haptics. A pronounced dominance of haptics over audition suggested a superior utility of somatosensation developed through long-term experience with object exploration. Large interindividual differences in the motor effects of haptic perturbation potentially arose from a differential reliance on the type of tactual prediction error for which participants tend to compensate: vibrotactile force versus object deformation. Musical experience did not have much of an effect beyond a slightly greater reliance on object deformation in mallet percussionists. The bias toward haptics in the presence of crossmodal perturbations was greater when participants appeared to rely on object deformation feedback, suggesting a weaker association between haptically sensed object deformation and the acoustical structure of concomitant sound during everyday experience of actions upon objects.
DOI: 10.1007/s00221-015-4529-9
PubMed: 26790425
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Giordano</name><affiliation wicri:level="1"><nlm:affiliation>Institute of Neuroscience and Psychology, University of Glasgow, Glasgow, Scotland, UK. bruno.giordano@glasgow.ac.uk.</nlm:affiliation><country xml:lang="fr">Royaume-Uni</country><wicri:regionArea>Institute of Neuroscience and Psychology, University of Glasgow, Glasgow, Scotland</wicri:regionArea></affiliation></author><author><name sortKey="Avanzini, Federico" sort="Avanzini, Federico" uniqKey="Avanzini F" first="Federico" last="Avanzini">Federico Avanzini</name><affiliation wicri:level="1"><nlm:affiliation>Department of Information Engineering, University of Padova, Padua, Italy.</nlm:affiliation><country xml:lang="fr">Italie</country><wicri:regionArea>Department of Information Engineering, University of Padova, Padua</wicri:regionArea></affiliation></author><author><name sortKey="Mcadams, Stephen" sort="Mcadams, Stephen" uniqKey="Mcadams S" first="Stephen" last="Mcadams">Stephen Mcadams</name><affiliation wicri:level="1"><nlm:affiliation>Department of Music Research, Centre for Interdisciplinary Research in Music, Media and Technology, McGill University, Montreal, QC, Canada.</nlm:affiliation><country xml:lang="fr">Canada</country><wicri:regionArea>Department of Music Research, Centre for Interdisciplinary Research in Music, Media and Technology, McGill University, Montreal, QC</wicri:regionArea></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">PubMed</idno><date when="2016">2016</date><idno type="RBID">pubmed:26790425</idno><idno type="pmid">26790425</idno><idno type="doi">10.1007/s00221-015-4529-9</idno><idno type="wicri:Area/PubMed/Corpus">000122</idno><idno type="wicri:Area/PubMed/Curation">000122</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="en">The dominance of haptics over audition in controlling wrist velocity during striking movements.</title><author><name sortKey="Cao, Yinan" sort="Cao, Yinan" uniqKey="Cao Y" first="Yinan" last="Cao">Yinan Cao</name><affiliation wicri:level="1"><nlm:affiliation>Crossmodal Research Laboratory, Department of Experimental Psychology, University of Oxford, Oxford, UK. yinan.cao@psy.ox.ac.uk.</nlm:affiliation><country xml:lang="fr">Royaume-Uni</country><wicri:regionArea>Crossmodal Research Laboratory, Department of Experimental Psychology, University of Oxford, Oxford</wicri:regionArea></affiliation></author><author><name sortKey="Giordano, Bruno L" sort="Giordano, Bruno L" uniqKey="Giordano B" first="Bruno L" last="Giordano">Bruno L. Giordano</name><affiliation wicri:level="1"><nlm:affiliation>Institute of Neuroscience and Psychology, University of Glasgow, Glasgow, Scotland, UK. bruno.giordano@glasgow.ac.uk.</nlm:affiliation><country xml:lang="fr">Royaume-Uni</country><wicri:regionArea>Institute of Neuroscience and Psychology, University of Glasgow, Glasgow, Scotland</wicri:regionArea></affiliation></author><author><name sortKey="Avanzini, Federico" sort="Avanzini, Federico" uniqKey="Avanzini F" first="Federico" last="Avanzini">Federico Avanzini</name><affiliation wicri:level="1"><nlm:affiliation>Department of Information Engineering, University of Padova, Padua, Italy.</nlm:affiliation><country xml:lang="fr">Italie</country><wicri:regionArea>Department of Information Engineering, University of Padova, Padua</wicri:regionArea></affiliation></author><author><name sortKey="Mcadams, Stephen" sort="Mcadams, Stephen" uniqKey="Mcadams S" first="Stephen" last="Mcadams">Stephen Mcadams</name><affiliation wicri:level="1"><nlm:affiliation>Department of Music Research, Centre for Interdisciplinary Research in Music, Media and Technology, McGill University, Montreal, QC, Canada.</nlm:affiliation><country xml:lang="fr">Canada</country><wicri:regionArea>Department of Music Research, Centre for Interdisciplinary Research in Music, Media and Technology, McGill University, Montreal, QC</wicri:regionArea></affiliation></author></analytic><series><title level="j">Experimental brain research</title><idno type="eISSN">1432-1106</idno><imprint><date when="2016" type="published">2016</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Skilled interactions with sounding objects, such as drumming, rely on resolving the uncertainty in the acoustical and tactual feedback signals generated by vibrating objects. Uncertainty may arise from mis-estimation of the objects' geometry-independent mechanical properties, such as surface stiffness. How multisensory information feeds back into the fine-tuning of sound-generating actions remains unexplored. Participants (percussionists, non-percussion musicians, or non-musicians) held a stylus and learned to control their wrist velocity while repeatedly striking a virtual sounding object whose surface stiffness was under computer control. Sensory feedback was manipulated by perturbing the surface stiffness specified by audition and haptics in a congruent or incongruent manner. The compensatory changes in striking velocity were measured as the motor effects of the sensory perturbations, and sensory dominance was quantified by the asymmetry of congruency effects across audition and haptics. A pronounced dominance of haptics over audition suggested a superior utility of somatosensation developed through long-term experience with object exploration. Large interindividual differences in the motor effects of haptic perturbation potentially arose from a differential reliance on the type of tactual prediction error for which participants tend to compensate: vibrotactile force versus object deformation. Musical experience did not have much of an effect beyond a slightly greater reliance on object deformation in mallet percussionists. The bias toward haptics in the presence of crossmodal perturbations was greater when participants appeared to rely on object deformation feedback, suggesting a weaker association between haptically sensed object deformation and the acoustical structure of concomitant sound during everyday experience of actions upon objects.</div></front></TEI><pubmed><MedlineCitation Owner="NLM" Status="In-Data-Review"><PMID Version="1">26790425</PMID><DateCreated><Year>2016</Year><Month>03</Month><Day>10</Day></DateCreated><DateRevised><Year>2016</Year><Month>04</Month><Day>10</Day></DateRevised><Article PubModel="Print-Electronic"><Journal><ISSN IssnType="Electronic">1432-1106</ISSN><JournalIssue CitedMedium="Internet"><Volume>234</Volume><Issue>4</Issue><PubDate><Year>2016</Year><Month>Apr</Month></PubDate></JournalIssue><Title>Experimental brain research</Title><ISOAbbreviation>Exp Brain Res</ISOAbbreviation></Journal><ArticleTitle>The dominance of haptics over audition in controlling wrist velocity during striking movements.</ArticleTitle><Pagination><MedlinePgn>1145-58</MedlinePgn></Pagination><ELocationID EIdType="doi" ValidYN="Y">10.1007/s00221-015-4529-9</ELocationID><Abstract><AbstractText>Skilled interactions with sounding objects, such as drumming, rely on resolving the uncertainty in the acoustical and tactual feedback signals generated by vibrating objects. Uncertainty may arise from mis-estimation of the objects' geometry-independent mechanical properties, such as surface stiffness. How multisensory information feeds back into the fine-tuning of sound-generating actions remains unexplored. Participants (percussionists, non-percussion musicians, or non-musicians) held a stylus and learned to control their wrist velocity while repeatedly striking a virtual sounding object whose surface stiffness was under computer control. Sensory feedback was manipulated by perturbing the surface stiffness specified by audition and haptics in a congruent or incongruent manner. The compensatory changes in striking velocity were measured as the motor effects of the sensory perturbations, and sensory dominance was quantified by the asymmetry of congruency effects across audition and haptics. A pronounced dominance of haptics over audition suggested a superior utility of somatosensation developed through long-term experience with object exploration. Large interindividual differences in the motor effects of haptic perturbation potentially arose from a differential reliance on the type of tactual prediction error for which participants tend to compensate: vibrotactile force versus object deformation. Musical experience did not have much of an effect beyond a slightly greater reliance on object deformation in mallet percussionists. The bias toward haptics in the presence of crossmodal perturbations was greater when participants appeared to rely on object deformation feedback, suggesting a weaker association between haptically sensed object deformation and the acoustical structure of concomitant sound during everyday experience of actions upon objects.</AbstractText></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>Cao</LastName><ForeName>Yinan</ForeName><Initials>Y</Initials><AffiliationInfo><Affiliation>Crossmodal Research Laboratory, Department of Experimental Psychology, University of Oxford, Oxford, UK. yinan.cao@psy.ox.ac.uk.</Affiliation></AffiliationInfo><AffiliationInfo><Affiliation>Department of Music Research, Centre for Interdisciplinary Research in Music, Media and Technology, McGill University, Montreal, QC, Canada. yinan.cao@psy.ox.ac.uk.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Giordano</LastName><ForeName>Bruno 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DateType="Electronic"><Year>2016</Year><Month>01</Month><Day>20</Day></ArticleDate></Article><MedlineJournalInfo><Country>Germany</Country><MedlineTA>Exp Brain Res</MedlineTA><NlmUniqueID>0043312</NlmUniqueID><ISSNLinking>0014-4819</ISSNLinking></MedlineJournalInfo><CitationSubset>IM</CitationSubset><CommentsCorrectionsList><CommentsCorrections RefType="Cites"><RefSource>J Neurosci. 2004 Mar 31;24(13):3223-34</RefSource><PMID Version="1">15056701</PMID></CommentsCorrections><CommentsCorrections RefType="Cites"><RefSource>J Neurosci. 2003 Aug 6;23(18):6982-92</RefSource><PMID Version="1">12904459</PMID></CommentsCorrections><CommentsCorrections RefType="Cites"><RefSource>Percept Mot Skills. 1974 Feb;38(1):15-23</RefSource><PMID Version="1">4815486</PMID></CommentsCorrections><CommentsCorrections RefType="Cites"><RefSource>Perception. 1979;8(1):93-103</RefSource><PMID Version="1">432084</PMID></CommentsCorrections><CommentsCorrections RefType="Cites"><RefSource>Psychol Bull. 1980 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IdType="pubmed">26790425</ArticleId><ArticleId IdType="doi">10.1007/s00221-015-4529-9</ArticleId><ArticleId IdType="pii">10.1007/s00221-015-4529-9</ArticleId><ArticleId IdType="pmc">PMC4785215</ArticleId></ArticleIdList></PubmedData></pubmed></record>Pour manipuler ce document sous Unix (Dilib)
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