Tactile score,a method of describing the sense of touching
Yasuhiro Suzuki*,**, Rieko Suzuki**.***, Fuminori Akiba*, Junji Watanabe***** Graduate School of information science, Nagoya University, {ysuzuki, akibaf@}is.nagoya-u.ac.jp** Graduate School of System Design and Management, Keio University*** Facetherapie Co.Ltd, info@tokyo-ft.com**** NTT Communication Science Laboratories, Nippon Telegraph and Telephone Corporation,watanabe.junji@lab.ntt.co.jp
Abstract: Although tactile sense is irreducible for human beings, suitable methods for describing
and sharing the tactile sense have not developed yet. Here we propose a method for describing thetactile sense based on musical scoring, which we refer to as the “tactile score.” On designing
tactile sense, one of the important issues is how to design “comfortable” tactile sense. In order toconsider it, we have been interested in massaging; it gives us comfortable stimulus and has beenused in various areas such as medicine, cosmetics, education and so on. We have been collaborate
with cosmeticians who gives massages and based on their experiences in beauty salons, we havedeveloped the method for describing massaging, “tactile score”; and we have analyzed massages
that show high beauty effects by using the tactile score and found that there are basic techniques ofmassages and also the rules of composing techniques exist. Tactile score have been developed for
massaging, we also show that this method can be applied to various areas, in order to create
comfortable tactile sense.
Key words: Paper Template, Guides, instructions, author's kit, conference publications

1 Introduction
Tactile sense has been of interest to psychology, psychophysics, cognitive science and so on; and recently it also
has been of interest to engineering and design. In engineering, tactile sense has been investigated related to thevirtual reality or robotics, where main subject is how to regenerate tactile sense mechanically (Oxford 2010). In
the product design or manufacturing, tactile sense is an important factor; for example in the product design ofelectronic equipments such as a smart phone or iPad, tactile sense is a key factor of designing (for example Takeo
2004). For example, massage has been a state of art technique of tactile sense for long time; since a massage
affects our mental and physiology, it has been used in broad area and its effects have been investigated inrehabilitation medicine, psychiatry, the art of cosmetic treatments and so on, and it has been shown that a massage
improves functional recovery in rehabilitation, brings realization and improves the condition of skin. And also
tactile sense has been used in education, training of self-awareness and so on.
One of a challenge in tactile sense researches is how to share and deliver the tactile sense with eachother; we can share a beautiful painting or music piece in a museum or concert hall; we have long history and art
works in the art of seeing and listening, however we do not have such art works in the tactile sense. A sculpture
has been regarded as “the art of tactile sense,” however it is not common to touch the art works directly in amuseum, we just see the sculpture and feel tactile sense through by seeing without touching it.

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1-2 Workshop on Design in Tactile sense, a putative approach sharing tactile sense
A putative approach to share the tactile sense with each other is body workshop; Italian designer, Bruno Munari
educates children through the sense of touch by the tactile workshops (Munari 2004). His enthusiastic subjects
that take part in these workshops are children. Munari’s observations provoke thought on the sense of touch andthe impact of diverting the visual focus and refocusing on the tactile. This prompts several questions: What occurs
in the mind when one comes in physical contact with an object without the use of his or her vision? There may bea heightened awareness through the other senses, but what more? Is this an exercise (and expansion) for theimagination? Is more of an impression made when one can interact with the object without the handicap of sight?
And, can this potentially lead to a greater investment in the object (content/experience)? (based on
http://stircenter.com/2009/02/21/bruno-munaris-tactile-workshops/)
Workshop based on Philosophy of Somaesthetics: Richard Shusterman has been proposed the somaesthetics, it
is a new interdisciplinary field whose roots are in philosophical theory, somaesthetics offers an integrative
conceptual framework and a menu of methodologies not only for better understanding our somatic experience, butalso for improving the quality of our bodily perception, performance, and presentation. Such heightened somaticawareness and mastery offers benefits to many fields including design. Our experience of ourselves and in ourworld is always embodied, and it involves somatic responses and feelings that are typically unnoticed though they
are unavoidable and indispensable for our proficient function. We need a proper feel for our tools in order to usethem most effectively; and this includes the use of one’s own body in using other tools. For the body is ourindispensable tool of tools, the necessary medium of our being, perception, action and self-presentation in theworld. By exploring the fundamental features of our embodied ways of engaging the world and transforming it
through action and construction, somaesthetics can provide useful insights and experiential skills to help designers
produce products and situations that provide more rewarding and pleasurable experience (Shusterman 2012).
He has been organizing bodyworkshop as a certified practitioner of Feldenkrais Method and a somatic therapist.
He gives workshops on somaesthetics that include practical exercises and demonstrations, but also has experiencein treating different cases of somatic disabilities.
Haptica Project: Authors (R. & Y. Suzuki) have been organizing the project focused on tactile sense ofmassaging, haptica project, since 2002 (Figure 1); our challenge has been how tactile sense share with others. In
the most of massaging, the tactile sense produced by massaging are shared only between a person gives massaging
and to be had it and it is difficult to share the tactile sense other than them. Hence, we have been doing
bodyworkshops of tactile sense produced by massaging and exploring the way to share the tactile sense byeveryone (Suzuki 2013).

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Figure 1: Main workshop: (left) from Haptica bodyworkshop in Honen-in Temple, Kyoto, (right) from the invited
workshop in the International Symposium on Multi-sensory Design, Nagoya University, 2006.
We have mainly developed bodyworkshops by massaging but we also have been organized workshop byusing artworks for the tactile sense, where we have created artworks to induce the tactile sense by toughing it, forexample we created artworks by using various sizes of balls; they were placed in a dark tunnel and participants
entered into the tunnel and crawled along the tunnel; the size of balls increased from small to large. The size ofballs are 2 or 3cm near the entrance of the tunnel and the size of balls gradually increased, and at the exit of thetunnel there was a large ball whose diameter is about 1 meter; hence participants can sense the difference in thesize of balls by their whole body (Figure 2).

Figure 2. Bodyworkshop at Aichi Children’s Center, this artwork (sensing small and large by your whole body) is
produced by Rieko Suzuki.

2. Tactile Score
From the experiences in bodyworkshops and cosmetic treatments of massages in beauty salon, we have explored
the way of sharing tactile sense with each other; in our bodyworkshop we have been interested in massaging,
because massaging is common in daily life and it exists in-between a person who massages and to be massaged,
where it can be regarded as the person to be massaged also gives massage, hence massage is like “clap” by hands,
it is produced by left hand and right hand and it can not to be generated by one hand. Hence we have developed
the notation for describing the tactile sense of massage with refereeing to the music score.

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Figure 3: The “staff notation” of tactile score.
In order to compose the tactile score, we apply a musical score to encode the tactile sense of massage, where thepressure intensity is expressed as a staff (Figure 3). We set the line sandwiched in between two upside-down
triangles as the basic pressure and then move it up and down to create a pressure variation, for example, indescribing the pressure to touch something important. The whole note represents rhythm of massaging, so it
includes a movement of a stroke.
Next we number the areas of the palm to describe the size of the dimension (Figure 4 (left)), in addition, weencode the spatial position and the movement of the stroke like a curve, line, dot, and each size of them like small,medium, and large as tactile steps like sol-fa of a musical score on a face. (Figure 4 (right)).

Figure 4(left) Various areas of a palm using in massaging (numbered as 1 to 6), (right) basic strokes ofmassaging; spatial positions and movements of strokes on a face; there are three types of strokes as curves, lines,and dots and each stroke has three types of length or size as small, medium, and large.
And also we give number to the areas of a hand using in massaging (Figure 4 (left)) and give symbols to basic
strokes in a face, each basic stroke has three lengths or sizes as short/small, medium, long/large; these strokes givedifferent quality of tactile, we call such quality of tactile as the tactile step like “sol-fa” of a musical score.
Language of Tactile Sense
Tactile perception conveys different messages from speech language. When one is patted on the shoulder once,
he/she might think it is an accidental bump, yet when patted twice, it has a meaning and he/she interprets it as
someone has called him/her. Also, mothers gently tap babies at a steady rhythm when they caress their babies. The4steady rhythm evokes the sense of security in babies.
In other words, counts and rhythm are important in tactile perception. We suppose the basic “count” ofmassage is the circular stroke from the base point. Just like when one is patted on the shoulder, a single stroke
could not be distinguished from a mere rubbing and it required more than double strokes to be recognized as
massage. This set of double or more strokes was considered as the basic element. Counts were alphabets ofmassage, basic elements were words, and the combination of words corresponded to massage. We has conjectured
the existence of principle in tactile sense such as massaging and we are able to investigate the “grammar” oftactile sense by using tactile score and development of the language of tactile sense will be able to apply in broad
area such as scientific communication, education, engineering and so on.
Acknowledgements
JSPS KAKENHI Grant Number 90217513 and 50177044 supported this work.
Reference[1] The Oxford Handbook of Philosophy of Cognitive Science, (2010) Oxford University Press.
[2] Haptic: Takeo Paper Show 2004, (2004) Asahi Shinbun.
[3]Martin Grunwald (Editor), (2008) Human Haptic Perception: Basics and Applications, Birkhäuser
[4] Buruno Munari, Tactile Workshop (2004), EDIZIONI CORRAINI[5] Richard Shusterman, (2012): Somaesthetics. In: Soegaard, Mads and Dam, Rikke Friis (eds.). "TheEncyclopedia of Human-Computer Interaction, 2nd Ed.". Aarhus, Denmark: The Interaction Design Foundation.
Available online at http://www.interaction-design.org/encyclopedia/somaesthetics.html[6]Yasuhiro Suzuki, Junji Watanabe and Rieko Suzuki, (2011) Tactile Score, a knowledge media of tactile sense
for creativity, KESS IIMSS-12.

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