Identification of Textured Tactile Pictures in Visually Impaired and Blindfolded Sighted Children

Recognition of facial expressions of emotions in tactile drawings by blind children, children with low vision and sighted children

In the context of blindness, studies on the recognition of facial expressions of emotions by touch are essential to define the compensatory touch abilities and to create adapted tools on emotions. This study is the first to examine the effect of visual experience in the recognition of tactile drawings of facial expressions of emotions by children with different visual experiences. To this end, we compared the recognition rates of tactile drawings of emotions between blind children, children with low vision and sighted children aged 6-12 years. Results revealed no effect of visual experience on recognition rates. However, an effect of emotions and an interaction effect between emotions and visual experience were found. Indeed, while all children had a low average recognition rate, the drawings of fear, anger and disgust were particularly poorly recognized. Moreover, sighted children were significantly better at recognizing the drawings of surprise and sadness than the blind children who only showed high recognition rates for joy. The results of this study support the importance of developing emotion tools that can be understood by children with different visual experiences.

Reconsidering Luria's speech mediation: Verbalization and haptic picture identification in children with congenital total blindness

Current accounts of behavioral and neurocognitive correlates of plasticity in blindness are just beginning to incorporate the role of speech and verbal production. We assessed Vygotsky/Luria's speech mediation hypothesis, according to which speech activity can become a mediating tool for perception of complex stimuli, specifically, for encoding tactual/haptic spatial patterns which convey pictorial information (haptic pictures). We compared verbalization in congenitally totally blind (CTB) and age-matched sighted but visually impaired (VI) children during a haptic picture naming task which included two repeated, test-retest, identifications. The children were instructed to explore 10 haptic schematic pictures of objects (e.g., cup) and body parts (e.g., face) and provide (without experimenter's feedback) their typical name. Children's explorations and verbalizations were videorecorded and transcribed into audio segments. Using the Computerized Analysis of Language (CLAN) program, we extracted several measurements from the observed verbalizations, including number of utterances and words, utterance/word duration, and exploration time. Using the Word2Vec natural language processing technique we operationalized semantic content from the relative distances between the names provided. Furthermore, we conducted an observational content analysis in which three judges categorized verbalizations according to a rating scale assessing verbalization content. Results consistently indicated across all measures that the CTB children were faster and semantically more precise than their VI counterparts in the first identification test, however, the VI children reached the same level of precision and speed as the CTB children at retest. Overall, the task was harder for the VI group. Consistent with current neuroscience literature, the prominent role of speech in CTB and VI children's data suggests that an underlying cross-modal involvement of integrated brain networks, notably associated with Broca's network, likely also influenced by Braille, could play a key role in compensatory plasticity via the mediational mechanism postulated by Luria.

A Systematic Review of Tactile Functioning in Blind Children From a Clinical Perspective

In the literature, there is a lot of variation in how well visually impaired youngsters can distinguish between tactile images. This systematic review investigated tactile functioning approaches' clinical perspective on blind children. PubMed, SCOPUS, Web of Science, Science Direct, and Cochrane Library were systematically searched to include the relevant literature. Rayyan QCRI was used throughout this systematic approach. The study included nine studies with a total of 394 children, 246 (62.4%) were males, and 148 (37.6%) were females. Textured graphical objects, images, drawings, and illustrations were used as stimuli to test tactile functioning in blind children. The findings of this comprehensive review showed that tactile stimuli for blind children were most effective in the form of textured images, words, and objects. It has been shown that the complexity, familiarity, and category information all influence how easy or challenging picture recognition is. Blind people can effectively use pictorial displays, but when foreshortening is used in complex representations of three-dimensional objects, they may benefit from instruction.

Drawing as a tool for investigating the nature of imagery representations of blind people: The case of the canonical size phenomenon

Several studies have shown that blind people, including those with congenital blindness, can use raised-line drawings, both for "reading" tactile graphics and for drawing unassisted. However, research on drawings produced by blind people has mainly been qualitative. The current experimental study was designed to investigate the under-researched issue of the size of drawings created by people with blindness. Participants (N = 59) varied in their visual status. Adventitiously blind people had previous visual experience and might use visual representations (e.g., when visualising objects in imagery/working memory). Congenitally blind people did not have any visual experience. The participant's task was to draw from memory common objects that vary in size in the real world. The findings revealed that both groups of participants produced larger drawings of objects that have larger actual sizes. This means that the size of familiar objects is a property of blind people's mental representations, regardless of their visual status. Our research also sheds light on the nature of the phenomenon of canonical size. Since we have found the canonical size effect in a group of people who are blind from birth, the assumption of the visual nature of this phenomenon - caused by the ocular-centric biases present in studies on drawing performance - should be revised.

Using tactile imagery to teach geometry to students with visual impairments in the United Arab Emirates

Learning geometry is difficult for students with visual impairments (VIs). However, tactile imagery, the process of constructing mental images of physical objects with certain shapes, may help them make sense of geometrical shapes. Thus, discussions have centred on interventions to promote the participation of students with VIs in the learning of shapes. This study explored tactile imagery connecting physical touch to memory as an approach to teaching shapes to students with VIs. Eleven students, five with VIs and six sighted students took part in this experimental design study. A tactile imagery test and intervention lessons were developed for this study. Four tactile imagery domains (tactile discrimination, tactile memory 2D, tactile memory 3D and pattern recall), each made up of 10 tests, guided the design of the tests and training lessons. The students' scores from the pre-test and post-test were subjected to mean computations, Mann-Whitney U tests and the Wilcoxon signed-rank test. The post-test results revealed that students with VIs performed better than their sighted peers. The study concludes with a discussion of the need for teacher educators to consider using tactile imagery as a way of teaching geometry to students with VIs.

Early blindness modulates haptic object recognition

Haptic object recognition is usually an efficient process although slower and less accurate than its visual counterpart. The early loss of vision imposes a greater reliance on haptic perception for recognition compared to the sighted. Therefore, we may expect that congenitally blind persons could recognize objects through touch more quickly and accurately than late blind or sighted people. However, the literature provided mixed results. Furthermore, most of the studies on haptic object recognition focused on performance, devoting little attention to the exploration procedures that conducted to that performance. In this study, we used iCube, an instrumented cube recording its orientation in space as well as the location of the points of contact on its faces. Three groups of congenitally blind, late blind and age and gender-matched blindfolded sighted participants were asked to explore the cube faces where little pins were positioned in varying number. Participants were required to explore the cube twice, reporting whether the cube was the same or it differed in pins disposition. Results showed that recognition accuracy was not modulated by the level of visual ability. However, congenitally blind touched more cells simultaneously while exploring the faces and changed more the pattern of touched cells from one recording sample to the next than late blind and sighted. Furthermore, the number of simultaneously touched cells negatively correlated with exploration duration. These findings indicate that early blindness shapes haptic exploration of objects that can be held in hands.

ColorPoetry: Multi-Sensory Experience of Color with Poetry in Visual Arts Appreciation of Persons with Visual Impairment

Visually impaired visitors experience many limitations when visiting museum exhibits, such as a lack of cognitive and sensory access to exhibits or replicas. Contemporary art is evolving in the direction of appreciation beyond simply looking at works, and the development of various sensory technologies has had a great influence on culture and art. Thus, opportunities for people with visual impairments to appreciate visual artworks through various senses such as hearing, touch, and smell are expanding. However, it is uncommon to provide a multi-sensory interactive interface for color recognition, such as integrating patterns, sounds, temperature, and scents. This paper attempts to convey a color cognition to the visually impaired, taking advantage of multisensory coding color. In our previous works, musical melodies with different combinations of pitch, timbre, velocity, and tempo were used to distinguish vivid (i.e., saturated), light, and dark colors. However, it was rather difficult to distinguish among warm/cool/light/dark colors with using sound cues only. Therefore, in this paper, we aim to build a multisensory color-coding system with combining sound and poem such that poem leads to represent more color dimensions, such as including warm and cool colors for red, orange, yellow, green, blue, and purple. To do this, we first performed an implicit association test to identify the most suitable poem among the candidate poems to represent colors in artwork by finding the common semantic directivity between the given candidate poem with voice modulation and the artwork in terms of light/dark/warm/color dimensions. Finally, we conducted a system usability test on the proposed color-coding system, confirming that poem will be an effective supplement for distinguishing between vivid, light, and dark colors with different color appearance dimensions, such as warm and cold colors. The user experience score of 15 college students was 75.1%, that was comparable with the color-music coding system that received a user experience rating of 74.1%. with proven usability.

A Study of Multi-Sensory Experience and Color Recognition in Visual Arts Appreciation of People with Visual Impairment

Visually impaired visitors experience many limitations when visiting museum exhibits, such as a lack of cognitive and sensory access to exhibits or replicas. Contemporary art is evolving in the direction of appreciation beyond simply looking at works, and the development of various sensory technologies has had a great influence on culture and art. Thus, opportunities for people with visual impairments to appreciate visual artworks through various senses such as hearing, touch, and smell are expanding. However, it is uncommon to provide an interactive interface for color recognition, such as applying patterns, sounds, temperature, or scents. This review aims to convey the visual elements of the work to the visually impaired through various sensory elements. In addition, to open a new perspective on appreciation of the works, the technique of expressing the color coded by integrating patterns, temperature, scent, music, and vibration was explored, and future research topics were presented.

Eyes Outside a Boundary Line: An Example of the Willats Region-Drawing Theory?

A puzzling raised-line drawing of a head by a blind man with no experience in freehand drawing has eyes placed outside the boundary line of the head, not inside. After scribbling, in the John Willats theory of drawing development, 2D "regions" on the page stand for 3D "volumes" in the scene. If Willats is correct, in very early drawing development circles touching the boundary line from outside may show the eyes are "embedded," and very early drawing development may be similar in the blind and sighted.