Many current neurophysiological, psychophysical, and psychological approaches to vision rest on the idea that when we see, the brain produces an internal representation of the world. The activation of this internal representation is assumed to give rise to the experience of seeing. The problem with this kind of approach is that it leaves unexplained how the existence of such a detailed internal representation might produce visual consciousness. An alternative proposal is made here. We propose that seeing is a way of acting. It is a particular way of exploring the environment. Activity in internal representations does not generate the experience of seeing. The outside world serves as its own, external, representation. The experience of seeing occurs when the organism masters what we call the governing laws of sensorimotor contingency. The advantage of this approach is that it provides a natural and principled way of accounting for visual consciousness, and for the differences in the perceived quality of sensory experience in the different sensory modalities. Several lines of empirical evidence are brought forward in support of the theory, in particular: evidence from experiments in sensorimotor adaptation, visual \"filling in,\" visual stability despite eye movements, change blindness, sensory substitution, and color perception.

A sensorimotor account of vision and visual consciousness-Authors' Response-Acting out our sensory experience

Most time series data mining algorithms use similarity search as a core subroutine, and thus the time taken for similarity search is the bottleneck for virtually all time series data mining algorithms. The difficulty of scaling search to large datasets largely explains why most academic work on time series data mining has plateaued at considering a few millions of time series objects, while much of industry and science sits on billions of time series objects waiting to be explored. In this work we show that by using a combination of four novel ideas we can search and mine truly massive time series for the first time. We demonstrate the following extremely unintuitive fact; in large datasets we can exactly search under DTW much more quickly than the current state-of-the-art Euclidean distance search algorithms. We demonstrate our work on the largest set of time series experiments ever attempted. In particular, the largest dataset we consider is larger than the combined size of all of the time series datasets considered in all data mining papers ever published. We show that our ideas allow us to solve higher-level time series data mining problem such as motif discovery and clustering at scales that would otherwise be untenable. In addition to mining massive datasets, we will show that our ideas also have implications for real-time monitoring of data streams, allowing us to handle much faster arrival rates and/or use cheaper and lower powered devices than are currently possible.

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Searching and mining trillions of time series subsequences under dynamic time warping

It is generally accepted that augmented feedback, provided by a human expert or a technical display, effectively enhances motor learning. However, discussion of the way to most effectively provide augmented feedback has been controversial. Related studies have focused primarily on simple or artificial tasks enhanced by visual feedback. Recently, technical advances have made it possible also to investigate more complex, realistic motor tasks and to implement not only visual, but also auditory, haptic, or multimodal augmented feedback. The aim of this review is to address the potential of augmented unimodal and multimodal feedback in the framework of motor learning theories. The review addresses the reasons for the different impacts of feedback strategies within or between the visual, auditory, and haptic modalities and the challenges that need to be overcome to provide appropriate feedback in these modalities, either in isolation or in combination. Accordingly, the design criteria for successful visual, auditory, haptic, and multimodal feedback are elaborated.

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Augmented visual, auditory, haptic, and multimodal feedback in motor learning: A review

Map-matching is the process of aligning a sequence of observed user positions with the road network on a digital map. It is a fundamental pre-processing step for many applications, such as moving object management, traffic flow analysis, and driving directions. In practice there exists huge amount of low-sampling-rate (e.g., one point every 2--5 minutes) GPS trajectories. Unfortunately, most current map-matching approaches only deal with high-sampling-rate (typically one point every 10--30s) GPS data, and become less effective for low-sampling-rate points as the uncertainty in data increases. In this paper, we propose a novel global map-matching algorithm called ST-Matching for low-sampling-rate GPS trajectories. ST-Matching considers (1) the spatial geometric and topological structures of the road network and (2) the temporal/speed constraints of the trajectories. Based on spatio-temporal analysis, a candidate graph is constructed from which the best matching path sequence is identified. We compare ST-Matching with the incremental algorithm and Average-Frechet-Distance (AFD) based global map-matching algorithm. The experiments are performed both on synthetic and real dataset. The results show that our ST-matching algorithm significantly outperform incremental algorithm in terms of matching accuracy for low-sampling trajectories. Meanwhile, when compared with AFD-based global algorithm, ST-Matching also improves accuracy as well as running time.

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Map-matching for low-sampling-rate GPS trajectories

The proliferation of accelerometers on consumer electronics has brought an opportunity for interaction based on gestures or physical manipulation of the devices. We present uWave, an efficient recognition algorithm for such interaction using a single three-axis accelerometer. Unlike statistical methods, uWave requires a single training sample for each gesture pattern and allows users to employ personalized gestures and physical manipulations. We evaluate uWave using a large gesture library with over 4000 samples collected from eight users over an elongated period of time for a gesture vocabulary with eight gesture patterns identified by a Nokia research. It shows that uWave achieves 98.6% accuracy, competitive with statistical methods that require significantly more training samples. Our evaluation data set is the largest and most extensive in published studies, to the best of our knowledge. We also present applications of uWave in gesture-based user authentication and interaction with three-dimensional mobile user interfaces using user created gestures.

uWave: Accelerometer-based personalized gesture recognition and its applications

We describe the design of ComTouch, a device that augments remote voice communication with touch, by converting hand pressure into vibrational intensity between users in real-time. The goal of this work is to enrich inter-personal communication by complementing voice with a tactile channel. We present preliminary user studies performed on 24 people to observe possible uses of the tactile channel when used in conjunction with audio. By recording and examining both audio and tactile data, we found strong relationships between the two communication channels. Our studies show that users developed an encoding system similar to that of Morse code, as well as three original uses: emphasis, mimicry, and turn-taking. We demonstrate the potential of the tactile channel to enhance the existing voice communication channel.

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ComTouch: design of a vibrotactile communication device

What if the traditional relationship between touch and music was essentially turned upside down, making the tactile sensation the aesthetic end? This paper presents a novel coupling of haptics technology and music, introducing the notion of tactile composition or aesthetic composition for the sense of touch. A system that facilitates the composition and perception of intricate, musically structured spatio-temporal patterns of vibration on the surface of the body is described. Relevant work from disciplines including sensory substitution, electronic musical instrument design, simulation design, entertainment technology, and visual music is considered. The psychophysical parameter space for our sense of touch is summarized and the building blocks of a compositional language for touch are explored. A series of concerts held for the skin and ears is described, as well as some of the lessons learned along the way. In conclusion, some potential evolutionary branches of tactile composition are posited.

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Cutaneous Grooves: Composing for the Sense of Touch

We combine the functionality of a mobile Global Positioning System (GPS) with that of an MP3 player, implemented on a PocketPC, to produce a handheld system capable of guiding a user to their desired target location via continuously adapted music feedback. We illustrate how the approach to presentation of the audio display can benefit from insights from control theory, such as predictive 'browsing' elements to the display, and the appropriate representation of uncertainty or ambiguity in the display. The probabilistic interpretation of the navigation task can be generalised to other context-dependent mobile applications. This is the first example of a completely handheld location- aware music player. We discuss scenarios for use of such systems.

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GpsTunes: controlling navigation via audio feedback

At the outset of a discussion of evaluating digital musical instruments (DMIs)—that is to say, instruments whose sound generators are digital and separable (though not necessarily separate) from their control interfaces (Malloch et al. 2006)—it is reasonable to ask what the term evaluation in this context really means. After all, there may be many perspectives from which to view the effectiveness of the instruments we build. For most performers, performance on an instrument becomes a means of evaluating how well it functions in the context of live music making, and their measure of success is the response of the audience to their performance. Audiences evaluate performances on the basis of how engaged they feel by what they have seen and heard. When questioned, they are likely to describe good performances as “exciting,” “skillful,” “musical.” Bad performances are “boring,” and those which are marred by technical malfunction are often dismissed out of hand. If performance is considered to be a valid means of evaluating a musical instrument, then it follows that, for the field of DMI design, a much broader definition of the term “evaluation” than that typically used in human–computer interaction (HCI) is required to reflect the fact that there are a number of stakeholders involved in the design and evaluation of DMIs. In addition to players and audiences, there are also composers, instrument builders, component manufacturers, and perhaps even customers. And each of these stakeholders may have a different concept of what is meant by “evaluation.” Composers, for example, may evaluate an instrument in terms of how reliable it is. If a composer writes a piece of instrumental music to be performed on a DMI, then they ought to be able to assume that (1) the instrumentalist is skilled on their instrument, and (2) the instrument has a known space of sound attributes that the composer can draw upon for musical effect.

A framework for the evaluation of digital musical instruments

The increasing complexity and pervasiveness of handheld devices is demanding the development of interaction techniques explicitly tailored for mobile scenarios. This paper examines one such technique: the use of device orientation to navigate through one dimensional lists or menus. We describe a novel input mapping, directly relating list position to device orientation, and two studies quantifying user performance with this system. We believe vibrotactile feedback would be significant in movement-based mobile interfaces, and also examine its influence. Our results indicate that both our input mapping and the inclusion of vibrotactile feedback positively affect user performance and experience. We conclude by discussing the design implications of this work.

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Sile O'Modhrain

Papers

ComTouch: design of a vibrotactile communication device

Cutaneous Grooves: Composing for the Sense of Touch

GpsTunes: controlling navigation via audio feedback

A framework for the evaluation of digital musical instruments

Tilt to scroll: evaluating a motion based vibrotactile mobile interface