New favorite terms: viscoelastic and deformation. Recent research by Hannes, Ingvars and Roland, "Memory at your fingertips: how viscoelasticity affects tactile neuron signaling," helps explain the power of touch, especially as it relates to interpretation of intensity (from several perspectives) and memory--in haptic pronunciation teaching (HaPT)--and elsewhere.
Just heard of a great technique from a fiend, a professional vocal artist and instructor. While attending a clinic held by a renowned opera singer and instructor, herself, was required sing a brief piece, in part, to demonstrate her professional "voice" to the seminar. The mentor, although apparently impressed with what she had heard, could see (and hear) that there was much more there. She asked my friend to sing some of the piece again, but this time to engage her fingers on the table as if she were playing the piano, accompanying herself. The result was . . . astounding . . . her expressiveness, engagement, projection of the piece and her persona were almost overpowering, even for the other members of the seminar. How did that work? (Watch the hands of a great opera singer sometime!)
In the Saal et al study, in essence what they found was that the "history" of previous touch on a location of the skin, described as a "deformation," carried a great deal of information in interpreting current touch, and that past touch was generally as perceptually salient as the current tactile event, as critical to the brain being able to interpret it accurately. In other words, memory for touch is highly complex and dynamic in sensing whether a current impact event has "the same meaning" or different--and in what way.
In principle, in haptic pronunciation work, any sound or sound pattern can be anchored with movement and touch, touch landing on the stressed syllable of a word or word of a phrase or clause. As developed in an earlier post, there are about a dozen types of touch in the system, each location on the hands or upper body in the visual field target for one or more touch types--and sounds. What the Hannes et al study clarifies is how, for example, three vowel sounds in HaPT such as [i]. [I] and[iy] which are located in the same place in the visual field (as high, front vowels) can still have very different somatic (feeling-based) identities based on distinct types of touch. (See demonstrations.)
- {i] is performed as a brief hold of the hands as the vowel is articulated.
- [I[ is performed as a quick, sharp tap touch, as the vowel is articulated.
- [iy] involves 2 motions, an initial glancing scratch of the fingernails of the right hand up across the palm of the left hand as the core vowel [i] is articulated, followed by the right hand fingers gliding to the top of the fingers fingers of the left hand and stopping there as the [y] offglide is articulated.
In the same way, the potentially "tactemic" finger touch points around the upper body and visual field provide strong, memorable anchors for varied sounds, words and sound patterns or processes. The tactile memory and touch differentiation in the hands is striking. If you'd like to learn more about the KINETIK system, we'd be happy to "give you a hand," of course!
Source: Saal Hannes P., Birznieks I,, Johansson Roland S. (2023) Memory at your fingertips: how viscoelasticity affects tactile neuron signaling eLife 12:RP89616 https://doi.org/10.7554/eLife.89616.1
