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actuators:erm [2022/03/17 21:18] – jonathan.lane-smithactuators:erm [2022/03/18 01:20] – [External Links and References] jonathan.lane-smith
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   * Joanne Armitage and Kia Ng from the University of Leeds created a haptic interface of 16 ERM motors presented as a grid array to augment the physical nature of live performance. ((Joanne Armitage and Kia Ng. Configuring a Haptic Interface for Music Performance. DOI: 10.14236/ewic/eva2015.4))   * Joanne Armitage and Kia Ng from the University of Leeds created a haptic interface of 16 ERM motors presented as a grid array to augment the physical nature of live performance. ((Joanne Armitage and Kia Ng. Configuring a Haptic Interface for Music Performance. DOI: 10.14236/ewic/eva2015.4))
 +  * Researchers fromMatralab, a group at Concordia University, worked on a project entitled :body:suit:score: in which a full-body suit was created to be worn by musicians. This suit had ERM motors embedded into the arms, vest, belt, and legs of the suit, so that musical information could be communicated to musicians as they play their instruments. ((A. Bachmayer, “The suit,” bodysuitscore, 2015. [Online]. Available: https://matralab.hexagram.ca/research/body-suit-score/the-suit/. [Accessed: 17-Mar-2022]. ))
 +  * Emma Fried and members of the IDMIL lab at McGill University created a wearable tactile display consisting of ERM motors to be placed on a person's back. This tactile display acted as a tactile notification system to be used in the context of live-electronics musical performances. ((E. Frid, M. Giordano, M. M. Schumacher, en M. M. Wanderley, “Physical and perceptual characterization of a tactile display for a live-electronics notification system”, in Proceedings of the International Computer Music and Sound and Music Computing Joint Conference. McGill University, 2014.))
 +  * Luca Turchet, Travis West and Marcelo Wanderley developed music haptic wearables consisting of two armbands, each with two ERM motors, in order to augment the experience of live musical performances for audience members. ((L. Turchet, T. West, and M. M. Wanderley, “Touching the audience: Musical haptic wearables for augmented and participatory live music performances,” Personal and Ubiquitous Computing, vol. 25, no. 4, pp. 749–769, 2020.))
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 +A simple search on Google Scholar can reveal many more examples of music tech projects that make use of ERM motors, showing that these motors are accessible and effective at communicating tactile feedback to users.
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 ===== External Links and References ===== ===== External Links and References =====
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 +The following paper by Choi and Kuchenbecker gives a great overview of vibrotactile displays, how vibrotactile feedback is perceived by humans, more detail into the different vibrotactile technologies, and various applications:
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 S. Choi and K. J. Kuchenbecker, "Vibrotactile Display: Perception, Technology, and Applications," in Proceedings of the IEEE, vol. 101, no. 9, pp. 2093-2104, Sept. 2013, doi: 10.1109/JPROC.2012.2221071. S. Choi and K. J. Kuchenbecker, "Vibrotactile Display: Perception, Technology, and Applications," in Proceedings of the IEEE, vol. 101, no. 9, pp. 2093-2104, Sept. 2013, doi: 10.1109/JPROC.2012.2221071.
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 +To understand more about the theory behind ERM motors and how they work, Precision Microdrives has a great webpage that discusses this in detail:
  
 “AB-004: Understanding ERM vibration motor characteristics,” Precision Microdrives, 01-Feb-2022. [Online]. Available: [[https://www.precisionmicrodrives.com/ab-004]]. [Accessed: 17-Mar-2022].  “AB-004: Understanding ERM vibration motor characteristics,” Precision Microdrives, 01-Feb-2022. [Online]. Available: [[https://www.precisionmicrodrives.com/ab-004]]. [Accessed: 17-Mar-2022].