Visual displays on deformable surfaces are compelling
because they are easy to adapt to for the generation of users who have become
heavily trained in ocularcentric, planar screen touch interactions since their
invention in the mid 1980’s. Visual display is not the only form of output
possible on deformable surfaces and for many applications will not turn out to
be the best.
The two well-known problems with colocating deformation and
Occlusion and visual distortions right at the points of interaction that
are the most likely to be interesting to the user.
Difficulty mapping obvious sensed parameters (depth or pressure) to
visual form with commensurate resolution.
We are exploring other sense modalities for deformable
displays that avoid these problems and offer interesting affordances for
Sound is one of those modalities that is so obvious and
pervasive that it may be easily overlooked. The state of the art in terms of
human expressivity and interactivity in deformable displays is the Indian tabla
drum. Good tabla players have sufficient control to be able play melodies on
the surface using palm pressure to control pitch and their fingers to sound the
drum with a wide variety of dynamics and timbral change. We are still very far
from being able to sense or actuate a surface with sufficient precision in time
and space to support the control musicians have over such surface interactions.
The last musical instrument to be developed in the west with comparable control
was the Clavichord. The keys of the clavichord couple the fingers to what
become the movable bridges of multiple strings. Good clavichord players have a
control of dynamic range that equal that of the piano in addition to pitch and
timbral control – both impossible for the piano. The piano displaced use of the
clavichord by being much louder and more suitable for the concert hall than the
HCI designers usually want more control over the mapping
between input and output than a special purpose musical instrument provides.
The insertion of digital computation and electrical transduction involves too
many compromises to discuss fully here. We will instead focus on a few key
challenges using the author’s work and examples from various collaborators.
Figure 1: the Tablo
The author’s “Tablo” is a controller designed to capture
palm and finger gestures that a table player might use. Sound output is emitted
from below the surface. An array of programmable lights provides visual
feedback (analogous to the frets of a guitar) shining through the translucent
conductive stretchable fabric. This fabric drapes over electrically resistive
strips, lowering their resistance which then becomes a measure of displacement.
Piezoresistive fabric segments around the annular base of the instrument are
used to estimate pressure and provide a reference point to measure dynamic
changes in displacement as an estimate of finger velocity.
Anna Flagg and Hannah-Perner Wilson have both adapted the
two main piezoresistive pressure surface design patterns 
to deformable applications using stretchable conductive and piezoresistive
The basic construction is illustrated for Flagg’s “Cuddlebot”
in figure 2.
Figure 2: Cuddlebot
The Cuddlebot is an affective robot that displays its
“emotional” responses as sounds and vibration according to the nature of sensed
interactions with its body surface.
Figure 3 shows Perner-Wilson’s robot skin. It uses a tubular
adaptation of a basic fabric pressure multitouch design of Figure 4 . Display in this case is retroaction in the
form of motion of segments of the robot arm.
Figure 3: Robot Skin
Figure 5 shows the author’s most recent experiment towards
capturing the responsiveness of hand drums .
From the display point of view it is interesting because the fabric sensing
materials are built directly on the moving surface of loudspeaker drivers. This
colocates sensing, audio and vibrotactile stimulation and leverages recent
developments in control theory to make the coupled systems stable and also new
sound transducers that have a flat and robust diaphragm.
Figure 5: Colocation
Discussion and Conclusion
Two major challenges persist in the engineering of the display systems
presented: temporal and spatial resolution. The legacy from office automation
applications of the 1980’s of low frame rates (30-60Hz) and low input data
rates (<100Hz) persists and pervades in the implementation of desktop and
mobile operating systems. New applications of these displays in gaming, music
and other situations where tight multimodal integration is important require
controlled latencies and sample rates better than 1kHz. We have shown that the
sensing-data-rate problem can be finessed by translating the data into digital
audio . The spatial resolution issue is hard to solve currently
without more reliable ways to connect the stretchable materials to the rigid
materials supporting the electronics. One of the more promising approaches to
this problem is to build the electronics with stretchable or bendable
 Freed, A. Integration of Touch
Pressure and Position Sensing with Speaker Diaphragms (Colocating Loudspeakers
and Touch Interaction) Audio Engineering Society, AES, San Francisco,
 Freed, A. Novel and Forgotten
Current-steering Techniques for Resistive Multitouch, Duotouch, and Polytouch
Position Sensing with Pressure NIME, 2009.
 Schmeder, A. and Freed, A. Support
Vector Machine Learning for Gesture Signal Estimation with a Piezo-Resistive
Fabric Touch Surface NIME, Sydney, 2010.
 Wessel, D., Avizienis, R., Freed, A.
and Wright, M. A Force Sensitive Multi-touch Array Supporting Multiple 2-D
Musical Control Structures New Interfaces for Musical Expression, New
Sound, Vibration, and Retroaction in Deformable Displays
, SIGCHI Workshop: Organic experiences: (re)shaping interactions with deformable displays, 04/2013, Paris/France, (2013)