Haptic

This paper reports on aspects of a haptic (movement plus touch) integrated system for classroom pronunciation instruction. It is based, in part, on established pedagogical practice in the use of somatic/ kinesthetic techniques such as gesture in language instruction (

This paper examines artistic works that use “generative systems” such as copy machines as examples that can incite melancholic experience in the audience. The works of Stevlana Boym, Sonia Sheridan, and Timm Ulrichs are discussed in this context. The theoretical framework for this analysis draws from Svetlana Boym’s concept of “broken-tech arts” (2001), as well as Laura Marks’ model of “haptic visuality” (2002). With the proliferation of copy machines since the 1960s in the US and other parts of the world, artists began producing new work through inventive uses and creative manipulations of copiers. Copy machines allowed distinct effects such as stretching and degeneration in image-making and specifically resulted in the generation of haptic images. This paper argues that such images can trigger melancholia as an aesthetic experience in their viewers.

Music is a multi-dimensional experience informed by much more than hearing alone, and is thus accessible to people of all hearing abilities. In this paper we describe a prototype system designed to enrich the experience of music for the deaf by enhancing sensory input of information via channels other than in-air audio reception by the ear. The system has two main components-a vibrating 'Haptic Chair' and a computer display of informative visual effects that correspond to features of the music. The Haptic Chair provides sensory input of vibrations via touch. This system was developed based on an initial concept guided by information obtained from a background survey conducted with deaf people from multi-ethnic backgrounds and feedback received from two profoundly deaf musicians. A formal user study with 43 deaf participants suggested that the prototype system enhances the musical experience of a deaf person. All of the users preferred either the Haptic Chair alone (54%) or the Haptic Chair with the visual display (46%). The prototype system, especially the Haptic Chair was so enthusiastically received by our subjects that it is possible this system might significantly change the way the deaf community experiences music.

In marked contrast to more recent discussions of cinematic affect, this article seeks to affirm the ineluctably passive experience of moving-images. In particular, the essay returns to the tradition of psychology and art history that developed, in the later nineteenth and early twentieth century, around the concept of Einfühlung. On this basis, I argue that cinema constitutes a kind of prosthetic perception whereby the brain is inhabited and vehicularized by images that are not its own.

In 2017, Mexican transfeminist artist and activist Lia García (La Novia Sirena) made weekly visits to dorm 10Bis of the prison Reclusorio Norte, engaging in performative actions with a group of cis-male prisoners. Sprouting from images of Proyecto 10Bis (2017), this article argues that, within conditions of increasing violence and impunity, Lia transgenders touch in ways that, by (re)pro-ducing hypertenderness, serve as a balm for a hyperviolent state. Unpacking the haptics in the mechanics of production, and considering the Derridian impossibility of tact and of the law, the author argues that by placing herself - cuerpo y corazón - between the state and the body, Lia engenders a haptic tactic that, through a transgendered hypertender touch, activates transaffective resistances that contend with the law and the state.

This paper reviews the virtual reality techniques. Virtual Reality is a computer system used to create an artificial world in which the user has the impression of being in that world and with the ability to navigate through the world and manipulate objects in the world. Virtual Reality (VR) is a term that applies to computer simulated environments that can simulate physical presence in places in the real world, as well as in imaginary worlds. Most current virtual reality environments are primarily visual experiences, displayed either on a computer screen or through special stereoscopic displays, but some simulations include additional sensory information, such as sound through speakers or headphones. Some advanced, haptic systems now include tactile information, generally known as force feedback, in medical and gaming applications. Virtual reality is used to describe a wide variety of applications commonly associated with immersive, highly visual, 3D environments. The development of CAD software, graphics hardware acceleration, and head mounted displays, database gloves, and miniaturization have helped popularize the notion. People often identify VR with head mounted displays and data suits. This paper review about Impact, Heritage and archaeology, Implementation and technologies used in Virtual reality are carried out.

This essay was written for the  catalogue of the Textures of Memory' exhibition, which I co-curated with Pamela Johnson. It explores the poetics of cloth, and in particular the fold,  drawing on ideas from  Gilles Deleuze and  Felix Guattari, Michel Serres, amongst others.

Frequently drawing on avant-garde formal strategies, bringing together personal, social and cultural memories in a cinematic collage, the films of Thai director Apichatpong Weerasethakul recreate what Richard Dyer has called ‘the texture of memory’ (Dyer 2010). Using narrative techniques such as repetition, fragmentation, and convergence (as different threads of a narrative resonate uncannily both within and across the films), the work expresses what the process of remembering feels like, how the warp and weft of the past continuously moves through and shapes the present just as the present shapes our memories of the past. While sound design in classical cinema often privileges the voice, lowering ambient sound in order to ensure intelligibility while creating an illusion of naturalism, in these films ‘natural’ ambient or environmental sounds are amplified to the extent that they become almost denaturalized, thus heightening their affective power. In Blissfully Yours (Sud sanaeha, 2002), Tropical Malady (Sud pralad, 2004), Syndromes and a Century (Sang sattawat, 2006) and Uncle Boonmee Who Can Recall His Past Lives (Loong Boonmee raleuk chaat, 2010) the sound of the environment is often so dominant that it dismantles our reliance on the verbal or the linguistic to ground our understanding of what is happening in the narrative, and instead encourages (or rather insists upon) an embodied, phenomenological, engagement with the sensuality of the scene. This use of sound and textual synaesthesia foregrounds sound's materialism and its relationship to touch, sight, and taste, creating a feeling of sensory immersion on the part of the spectator where the senses seem to become indistinct. Alongside frequent bursts of pop music (expressing jouissance), the films’ sound designer Akritchalerm Kalayanamitr uses these environmental sounds to create rhythmic ‘sonic sequences’ that have themselves an almost musical quality reminiscent of experimental avant-garde compositions from the 1950s and 60s made up of single or multi-tracked field recordings. This essay examines these moments in Apichatpong's films and argues that they enable a sense of connection and intersubjectivity by appealing directly to the audio-viewer's shared knowledge of how we remember.

Dokunma eyleminin varlığı sorgulanmaksızın, algıda dokunsal unsurların bilgi üretimine dâhil olduğu bir algı türü olarak haptik algı terimi, dokunsal ve görsel algıya eşit bir mesafede konumlanmaktadır. Haptik kavramı ile sanat nesnesinin bir arada ele alınabilirliğini malzeme algısı ve dokunsal algı/deneyim odağında fenomenolojik bir yaklaşım ile araştırma fikri, bu çalışmanın temelini oluşturmaktadır. Araştırma ve çalışmanın motivasyonu, dokunma duyusuna fenomenoloji ve moleküler biyofizik odaklı bir yaklaşım ile "haptik" teriminin çerçevesinin yeniden tanımlanması ile sanat nesnesi üzerine yeni bir okuma, eleştiri, yorumlama, deneyimleme yöntemini geliştireceğinin ve bu yaklaşımın sanat teorisi ve felsefesi bağlamında potansiyel barındırdığının düşünülmesidir. Bu bağlamda Merleau-Ponty'nin algı fenomenolojisi temelinden çıkışla sanat eserleriyle kurulan ilişki, etkileşim ve ilişkisellik üzerinden şekillenen bir sanat eseri eleştirisi/incelemesi yaklaşımının imkânını sorgulamak bu çalışmanın hedefi olarak belirlenmiştir. Göz hegemonyasının bir eleştirisi olarak anti-oküler yaklaşımın altında, duyulararası işbirliği ve eşitliği zemininde, görme ve dokunmanın birbirine içkin olarak ele alınması ve bu yaklaşımın literatür için henüz yeni sayılabilecek bir terim olan "haptik" çerçevesinde geliştirilmesinin 20. yüzyıla değin göz hegemonyasının neden olduğu boşluğu doldurması amaçlanmıştır. Sanat felsefesi çerçevesinde bir estetik teorisi geliştirmek amacıyla tanımlanan haptik sanat nesnesi eleştirisi ile farklı dönemlerden sanat eserleri ele alınmıştır. Bu bağlamda Jan van Eyck'in "Arnolfini'nin Portresi" ve Hans Holbein'in "Elçiler" tablosu, Edith Clifford Williams'ın "Marius de Zayas'ta Dokunma için Alçı", Meret Oppenheim'ın "Kürk Kaplı Çay Fincanı" ve Louise Bourgeois'nın "Çift" serisi haptik eleştiri perspektifinden yola çıkılarak ayrıntılı bir şekilde çözümlenmiştir. Çağdaş sanat ortamında haptik stratejiler etkin bir rol oynamaktadır. Plastik sanatlar, sinema, yeni medya ve interaktif sanat, endüstriyel tasarım, robotik ve artırılmış gerçeklik bu konuda geniş bir olanaklar ve olgular yelpazesi sunmaktadır. /////// Without questioning the existence of the tactile action, the haptic perception term as a type of perception in which tactile elements are included in information production, is located at an equal distance from tactile and visual perception. The idea of researching the coexistence of the concept of haptics and the art object with a phenomenological approach in the focus of material perception and tactile perception/experience forms the basis of this study. The motivation of this research and study includes phenomenology and Molecular Biophysics-oriented approach on the sense of touch, with the framework of a redefinition of the term haptic of the art object would improve a new reading, criticism, interpretation, and experimentation, and that hosts potential method in the context of contemporary art theory and philosophy. In this context, the aim of this study was to question the possibility of a critique/review approach of a work of art shaped by the relationship, interaction and relatedness established by Merleau-Ponty with the works of art based on the phenomenology of perception. Under the anti-ocular approach as a critique of as eye hegemony, on the basis of inter-sensory cooperation and equality between vision and touch should be treated as immanent and this approach should be developed within the framework of "haptic", a new term for the literature. 20th century it was intended to fill the void caused by eye hegemony until the century. In order to develop an aesthetic theory within the framework of the philosophy of art, art works from different periods are discussed with the criticism of haptic art object. In this context, "The Arnolfini Portrait" by Jan van Eyck, "Ambassadors" by Hans Holbein, "Plâtre à Toucher chez Marius de Zayas" by Edith Clifford Williams, "Fur-Lined Teacup" by Meret Oppenheim, and "Couple" series by Louise Bourgeois are analyzed in detail from the perspective of haptic criticism. Haptic strategies play an active role in the contemporary art environment. Plastic arts, cinema, New Media and interactive art, industrial design, robotics and augmented reality offer a wide range of possibilities and phenomena in this regard.

Serious gaming often requires high level of realism for training and learning purposes. Haptic technology has been proved to be useful in many applications with an additional perception modality complementary to the audio and the vision. It provides novel user experience to enhance the immersion of virtual reality with a physical control-layer. This survey focuses on the haptic technology and its applications in serious gaming. Several categories of related applications are listed and discussed in details, primarily on haptics acts as cog-nitive aux and main component in serious games design. We categorize haptic devices into tactile, force feedback and hybrid ones to suit different haptic interfaces , followed by description of common haptic gadgets in gaming. Haptic modeling methods, in particular, available SDKs or libraries either for commercial or academic usage, are summarized. We also analyze the existing research difficulties and technology bottleneck with haptics and foresee the future research directions.

Max Dessoir’in biyoloji alanında optik ve akustik terimlerine atıfta bulunarak “insan dokunuşunun bilimi” olarak tanımladığı haptik kavramının çerçevesi 20. yüzyılda farklı tanımlamalar ve kriterler ile değiştirilerek sanat tarihi, sanat eleştirisi ve felsefe alanlarında kullanılmaya başlanmıştır. Alois Riegl’in gölge-kontur ilişkisi, figür-zemin ilişkisi kriterleri ile tanımladığı haptik görsellik yaklaşımı ile haptik kavramı izleyicinin görüş mesafesi ile ilişkilenmektedir. Böylelikle haptik fiziksel temastan bağımsızlaşmıştır. Merleau-Ponty’nin ölümünden sonra Riegl’in haptik kavramı yaygınlaşmış, Deleuze ve Guattari’nin yeniden tanımladığı haptik felsefe alanında da kullanılmaya başlanmıştır. Böylelikle çerçevesi ve koşulları değiştirilebilir bir yapıya sahip olan haptik kavramı, göz-merkezci yaklaşımların bakıştan kopardığı çoklu duyusallığı bakışa geri vermiş ve görsel unsurlar dışındaki duyusal unsurların da bakıştaki varlığının ele alınmasına imkân sağlamaktadır. Bu nedenle haptik kavramı, duyular arasındaki “eş iş-başındalık”a ve “Ten”in, duyusal çoğunluğun (multi-modal duyuların) “zemin”i olduğuna değinilen Merleau-Ponty felsefesi için oldukça kıymetlidir. Haptik kavramını Merleau-Ponty felsefesi ile yeniden tanımlayarak, fiziksel temas ve bedensel hareketten bağımsız bir haptik tanımı geliştirmek çalışmanın temelini oluşturmaktadır. Bu araştırma ile fiziksel temasın şart koşulmadığı, duyular arası hiyerarşi kurmayan bir görme biçimi/bakış türü olarak tanımlanan haptik kavramının Merleau-Ponty metinlerinden alıntılarla sağlaması yapılarak, net bir çerçevede sunulması amaçlanmıştır. ////// The framework of the haptic concept, which Max Dessoir describes as “the science of the human touch” in reference to the terms optics and acoustics in the field of biology, was changed with different definitions and criteria in the twentieth century and began to be used in the fields of art history, art criticism and philosophy. Alois Riegl's haptic vision, defined by the criteria of shadow-contour, figure-ground relationship and relates the haptic concept to the viewer's distance of view. Hereby, haptic became independent of physical contact. After the death of Merleau-Ponty, Riegl's haptic concept became widespread, and the haptic, which Deleuze and Guattari redefined, also began to be used in the field of philosophy. Thus haptic, whose frame and conditions have a changeable structure, has given the sensuality back to the vision, and allows to address the multisensory elements other than visual elements in the vision. Therefore, haptic is very valuable for the Merleau-Ponty philosophy, which states that the “co-collaboration” between the senses and the “Chair” which is the “ground”of the sensory majority (multi- modal senses). Redefining the haptic with the Merleau-Ponty’s philosophy to developing a new definition of haptics which independent of physical contact and bodily movement is the purpose of this paper. With this research, the haptic concept, which is defined as a form of vision/way of seeing that does not establish a hierarchy between the senses, is intended to be presented in a clear framework with citations from the Merleau-Ponty texts.

This thesis presents a series of studies to explore and understand the design of eyes-free interfaces for mobile devices. The motivation is to devise a holistic design concept that is based on the WIMP paradigm and is adapted to the requirements of mobile user interaction. It is proposed that audio is a very efficient and effective modality for use in an eyes-free mobile interface. Methods to transfer the WIMP paradigm to eyes-free interfaces are proposed and evaluated. Guidelines for the implementation of the paradigm are given and ...

The article is a group effort consisting of an introduction and seven compact essays. It is focused on the problem of color from the perspective of current philosophical discussions on the role of the Enlightenment and the relationship between light and dark. The introduction by Michael Kurtov presents a roadmap for navigating through the seven essays by referring to a schema of “color knowledge” which has four dimensions: luminosity, resolution, saturation, and hue. Each of the texts in the article (the introduction and seven essays) deals mostly with one of “color knowledge”, which are formed by combining three color dimensions. Roman Mikhailov explores the plastic-dynamic correlates of colors and the chromaticity of the text understood broadly both as the text of nature and as an abstract symbolic complex. Eugene Kuchinov offers a “haptic criticism of the Enlightenment,” which is an analysis of color phenomena from the point of view of the skin (not the eye): on the basis of the logic of sensation, color is “viewed” beyond the light, beyond the optics. Yoel Regev develops a hermeneutics of color applied to the Torah: color is interpreted as a deception which is opposed to another deception belonging to a “true enlightenment.” Michael Kurtov addresses a revision of Goethe’s theory of color based on new physical experiments and on the logical geometry of color and then arrives at a critique of contemporary chromo-ideology. Nataliya Tyshkevich reveals the modern political meaning of coloring in the context of the recent “renaissance of modernist aesthetics” in which dealing with form is replaced by dealing with surfaces. Gray Violet describes color and darkness as political functions that turn into each other in the middle of a non-place in the “smart city.” The final piece by Nikita Sazonov elaborates the procedure of colorization by examining noncolor — a resource beyond the colored and the uncolored, most readily manifested in the printed character as well as in modern hip-hop culture
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Статья представляет собой коллективный текст, состоящий из введения и семи фрагментов. В центре статьи — проблема цвета, рассмотренная сквозь призму актуальных философских дискуссий о роли Просвещения и отношениях «светлого» и «темного». Во введении Михаила Куртова предлагается общая карта движения по семи фрагментам — модель «цветного знания», имеющая четыре измерения: светлота, разрешение, насыщенность, цветовой тон. Каждый из включенных в статью текстов (введение и семь фрагментов) условно отнесен к одному из восьми возможных типов «цветного знания». Фрагмент Романа Михайлова исследует пластически-динамические корреляты цветов и говорит о цветности текста, понимаемого максимального широко: и как текста природы, и как абстрактного символического комплекса. Фрагмент Евгения Кучинова посвящен «гаптической критике Просвещения» — анализу цвета с точки зрения «кожи», располагающемуся на границе оптического как такового и получающему свой смысл в интенсивном, аффективно-динамическом знании. Фрагмент Йоэля Регева разворачивает герменевтику цвета на материале Торы: цвет истолковывается как обман, которому противостоит другой обман, принадлежащий «подлинному просвещению». Фрагмент Михаила Куртова обращается к пересмотру теории цвета Гёте на базе новых физических экспериментов и с учетом развития логической геометрии цвета, намечая тем самым критику современной хромоидеологии. Фрагмент Натальи Тышкевич раскрывает современный политический смысл раскрашивания в контексте «ренессанса модернистской эстетики» последних лет, в которой работа с формой замещается работой поверхностями. Фрагмент Серого Фиолетового описывает цвет и тьму как политические функции, обращающиеся друг в друга посреди единого не-места «умного города». Заключительный фрагмент Никиты Сазонова разрабатывает процедуру расцвечивания через обращение к нецвету — ресурсу по ту сторону цвета и не-цвета, наиболее отчетливо проявляющемуся в печатном знаке, а также в современной хип-хоп культуре

User quality of experience (QoE) is of fundamental importance in multimedia applications and has been extensively studied for decades. However, user QoE in the context of the emerging multiple-sensorial media (mulsemedia) services, which involve different media components than the traditional multimedia applications, were not comprehensively studied. This paper presents the results of subjective tests which have investigated user perception of mulsemedia content. In particular, the impact of intensity of certain mulsemedia components including haptic and air-flow on user-perceived experience are studied. Results demonstrate that by making use of mulsemedia the overall user enjoyment levels increased by up to 77%.

This article is a close analysis of a popular song by the Italian singer-songwriter Paolo Conte, ‘Sparring Partner’, in Ozon's film [Formula: see text] (2004). With particular reference to what Barthes called the ‘grain’ of the voice, the article shows how the song does not work anempathetically, cutting across characters and narrative and undermining them; nor does it work empathetically to support the characters or reflect their emotions in a straightforward way. Rather, the song creates a complex haptic moment, where affect and gender fluidity combine to form a ‘haptic metaspace’; this acts as a frame for productively unstable embodiments, marked by nomadic transitions and volatilities, focused on the male of the couple.

Touch is both the first sense to develop and a critical means of information acquisition and environmental manipulation. Physical touch experiences may create an ontological scaffold for the development of intrapersonal and interpersonal conceptual and metaphorical knowledge, as well as a springboard for the application of this knowledge. In six experiments, holding heavy or light clipboards, solving rough or smooth puzzles, and touching hard or soft objects nonconsciously influenced impressions and decisions formed about unrelated people and situations. Among other effects, heavy objects made job candidates appear more important, rough objects made social interactions appear more difficult, and hard objects increased rigidity in negotiations. Basic tactile sensations are thus shown to influence higher social cognitive processing in dimension-specific and metaphor-specific ways.

The present manuscript deals with designing a haptic robotic arm, which can be used to pick and place the objects. In this paper, a robotic arm with four degrees of freedom is designed and is able to pick the objects with a specific weight and place them in a desired location. To facilitate the lifting of the objects, Servomotors with a torque of 11 kg are used. The programming is done on ATMEGA-328 Microcontroller using Arduino programming. The Microcontroller along with input pins is soldered on a PCB board. The input is given using a remote, which is an arm, made of Polycarbonate fitted with Potentiometers with a certain angle of rotation. The Potentiometers detect the angle of the rotation and the signals are sent to the Microcontroller accordingly. In the world of robotics, this Robotic arm has been turned out to be trendy. This kind of the arms have many applications in the field of industrial robotics where the automation is required.

—In this paper, a smart wireless wristband is proposed. The potential of innovative gesture based interactivity with connected lighting solutions is reviewed. The solution is intended to offer numerous benefits, in terms of ease of use, and enhanced dynamic interactive functionality. A comparative analysis will be carried out between this work and existing solutions. The evolution of lighting and gesture controls will be discussed and an overview of alternative applications will be provided, as part of the critical analysis.

It remains controversial whether using two hands and multiple fingers provides any perceptual advantage over a single index finger. The present study examines this long-running question in the hapticexploration literature by applying rigorous, psychophysical, and mathematical modeling techniques. We compared the performance of fourteen blindfolded sighted participants on seven tactile-map tasks using seven finger conditions. All tasks were benefited by multiple fingers, but it varied whether multiple fingers were beneficial on one hand, two hands, or both. Line-tracing tasks were performed faster when two hands were used, but not more than one finger per hand. Local and global search tasks were faster with multiple fingers, but not two hands. Distance comparison tasks were also performed faster with multiple fingers, and sometimes with two hands. Lastly, moving in a straight line was faster with multiple fingers, but was especially difficult with just two index fingers. These results provide empirical evidence that multiple hands and fingers benefit haptic perception, but the benefits are more complex than simply extending the tactile field of 'view'. This analogy between touch and vision fails to account for the autonomous movements and sensations of the fingers, which we show benefit the haptic perceptual system.

The article deals with the philosophy of touch by Jean-Luc Nancy, one of the living legends of (post-)structuralism, which Jacques Derrida baptized as “the greatest philosopher of touch” in his book entitled On touching: Jean-Luc Nancy. Nancy is known and renown as a philosopher that dealt with a series of different phenomena, but if there is a fil rouge in his work, from the very first writings to the more recent works, than it is precisely the issue of touch. Thus, the contribution focuses on the concept of touch as developed by Nancy from Corpus to Noli me tangere, namely, from a novel conception of the body until an attempt of grasping the elusive object of touch via various philosophical, linguistic and artistic reflections.

This essay brings Gilles Deleuze’s baroque to bear on the body-focused filmmaking of Philippe Grandrieux. Focusing on Un Lac (A Lake), it argues that Deleuze’s baroque contains a non-human and/or non-figurative potential that can be pushed cinematically to speak to Grandrieux’s densely textured aesthetic. While Deleuze’s engagements with Aloïs Riegl are well known, the essay also foregrounds the Swiss art historian Heinrich Wölfflin as a neglected contributor to Deleuze’s baroque. Combined, both Wölfflin and Deleuze articulate the baroque as a highly materialist aesthetic that is inclusive of surface texture, sound, depth and density as well as abstraction. Throughout The Fold, Deleuze’s baroque couples sensation with abstract form and thought ('folds in the soul'). By way of Un Lac, I detail how a painterly/baroque model of abstraction might be enacted in film. The tenderly enfolded world that Grandrieux portrays activates cinema as a medium of sensation and of immanent thought.

Bone drilling is a common and fundamental process of many
surgical procedures. In this paper, a framework is presented for
the simulation of freehand-controlled bone drilling process and a
prototype simulation system for training of skull-bone drilling is
implemented. The major contribution of this work is that torque
rendering, a major feature in the drilling process is modeled. In
the simulation process a user can drill a virtual skull bone with
multi-sensory feedback such as force, torque, vision and sound
using a 6 degree-of-freedom (DoF) haptic device. A hybrid
model of volumetric and polygonal parts is proposed for realistic
haptic rendering and efficient graphic rendering. The haptic
rendering for drilling process is based on volumetric data with
high resolution and multi-point collision detection. Marching
Cubes algorithm is locally applied to contour volume data in
real time in order to accelerate graphic rendering speed. A
preliminary evaluation system is also presented to test trainees’
performance.

Purpose: This article provides rehabilitation professionals
and engineers with a theoretical and pragmatic rationale
for the inclusion of haptic feedback in the rehabilitation of
central nervous system disorders affecting the hand. Method:
A narrative review of haptic devices used in sensorimotor
hand rehabilitation was undertaken. Presented papers were
selected to outline and clarify the underlying somatosensory
mechanisms underpinning these technologies and provide
exemplars of the evidence to date. Results: Haptic devices
provide kinaesthetic and/or tactile stimulation. Kinaesthetic
haptics are beginning to be incorporated in central nervous
system rehabilitation; however, there has been limited
development of tactile haptics. Clinical research in haptic
rehabilitation of the hand is embryonic but initial findings
indicate potential clinical benefit. Conclusions: Haptic
rehabilitation offers the potential to advance sensorimotor
hand rehabilitation but both scientific and pragmatic
developments are needed to ensure that its potential is
realized.

Touch•Sensitive is a haptic apparel that allows massage therapy to be diffused, customized and controlled by people while on the move. It provides individuals with a sensory cocoon. Made of modular garments, Touch•Sensitive applies personalized stimuli. We present the design process and a series of low fidelity prototypes that lead us to the Touch•Sensitive Apparel.

In this work, we designed a haptic stylus interface interacting with a touch screen. The stylus has functions of providing vibration, impact, and sound and it is a stand-alone system including its own battery and wireless communication module. We present a new interaction scheme on the Windows graphical user interface based on haptic feedback events for clicking, drag & drop, moving, scrolling, highlighting, and other things. From conducting experiments, we evaluated its performance that the haptic stylus improved precise control of GUI elements. A simple interactive digital sketchbook has been also implemented, which is providing haptic and auditory feedback while drawing and touching objects.

Mental mapping of spaces is essential for the development of efficient orientation and mobility skills. Most of the information required for this mental mapping is gathered through the visual channel. People who are blind lack this information, and in consequence, they are required to use compensatory sensorial channels and alternative exploration methods. In this study, people who are blind use a virtual environment (VE) that provides haptic and audio feedback to explore an unknown space. The cognitive mapping of the space based on the VE and the subject's ability to apply this map to accomplish tasks in the real space are examined. Results show clearly that a robust and comprehensive map is constructed, contributing to successful performance in real space tasks. r

Traditional interaction devices such as mouse and keyboard do not adapt very well to immersive environments, since they were not ergonomically designed for it. The user may be standing or in movement and these devices were projected to work on desks. Moreover, in the current interaction model for immersive environments, which is based on wands and 3D mice, a change of context is necessary every time to execute a non-immersive task. These constant context changes from immersive to 2D desktops introduce a rupture in the user interaction with the application. The objective of this work is to develop a device that maps a touch interface in a virtual reality immersive environment. In order to interact in 3D virtual reality immersive environments a wireless glove (v-Glove) was created, which has two main functionalities: tracking the position of the user's index finger and vibrate the fingertip when it reaches an area mapped in the interaction space to simulate a touch feeling. Quantitative and qualitative analysis were performed with users to evaluate the v-Glove, comparing it with a gyroscopic 3D mouse.

Haptic interfaces have the potential to enhance communication and interaction via the computer enabling affective expressive interpersonal communication and enriching interaction by haptic feedback. Still, what exactly their potential is and how we can design in order to fulfil it remains topic of contemporary debate. My contribution to this debate shall be to place some of the current developments into a philosophical and cultural context and to introduce social science based methodologies, which will help broaden the discussion and scope of input. Through semiotic analysis, we can predict meaning making in haptic communication that goes beyond linguistic description. Examples of Haptic interfaces shall be positioned as case studies in this typology. Also, I describe the Haptic Box and PinKom as my way of investigating a semiotic system of touch. In conclusion, this paper hopes to inform and catalyse the development of a haptic design palette.

"People can hear a lot of information about an object by tapping and scratching it. We have developed a TapAndScratch node that automatically synthesises the sounds of tapping and scratching interactions with haptic objects in the Reachin haptic API.
The scratching sounds are produced by a granular synthesis algorithm that is used to provide information about interactions with the surface of an object, such as variation in force, rate of scratching and duration of scratch strokes. The scratching sounds can also provide information about properties of the surface such as stiffness, friction, and bumpiness. The tapping sounds are produced by a modal synthesis algorithm that provides more global information about the material and shape of the object when it is tapped. We believe these continuously varying sounds can provide useful information and further engage the user."

Because many concepts in physics are non-engaging and difficult to understand, instructors in physics are challenged to fully engage students in the study of physics. For even the best students, current practices are not fully engaging and do not provide a deep understanding of fundamental principles. While traditional laboratory exercises are a good way to support and reinforce learning, haptic simulations can be more effective. Haptic feedback can increase understanding within a virtual environment in certain instances and can provide an additional modality for imparting tangible principles. In this paper, we discuss the design of an educational simulation tool using audio, visual and haptic feedback for learning basic concepts in physics at the elementary school student level.

In this paper we consider the general goal of supporting physical manipulation of digital audio in a specific context: the performance disk jockey (DJ) seeking to migrate from vinyl to digital media. We classify both the DJ's traditional processes and tools and the field's newest technology. D'Groove, our own technological contribution, is a force feedback turntable used to manipulate digital audio in novel ways. We present an observational study of professional DJ's using D'Groove, and discuss this approach's attributes and directions for future augmentation. Finally, we extend our conclusions about the DJ's emerging needs to the broader domain of digital audio manipulation.

Expanding on Robert Stam’s idea that sound and image tracks in film can ‘mutually jostle, undercut [and] haunt…each other’ creating what he calls a ‘heterochronic… cinema , this thesis argues that close analysis of a film’s sound design can sometimes reveal a break in the seamlessness of a film’s narrative and formal structure when sound and image are used asynchronously. Synthesising Stam’s formal approach with the theoretical framework of temporal critique put forward by Bliss Cua Lim in her study of the ghost film, this study demonstrates how, like the ghost figure, this use of ‘unruly’ sound can similarly disrupt the concept of time as linear and the nation-state as a stable, homogenous entity. Analysing the use of ‘spectral sound’ in a group of important films produced in cultures of censorship by Bahman Ghobadi, Jia Zhangke and Apichatpong Weerasethakul, the thesis argues that film form can itself be political – creating a sense of temporal dislocation that ‘makes the present waver’.  Alert to the ethical possibilities of listening to film, ‘Cinema’s Spectral Sounds’ argues that film sound can also play a crucial restorative role in that it can reposition oppressed memories and experiences centrally within the discourse of the present.

This chapter introduces the notion of passive dynamic haptic interaction with video, and describes the computation of force due to relative motion between an object in a video and the haptic interface point (HIP) of a user, given associated pixel-based depth data. While the concept of haptic video, that is, haptic rendering of forces due to geometry and texture of objects in a video from the associated depth data, has already been proposed, passive dynamic haptic interaction with video has not been studied before. It is proposed that in passive dynamic interaction, a user experiences motion of a video object and dynamic forces due to its movement, even though the content of the video shall not be altered by this interaction. To this effect, the acceleration of a video object is estimated using video motion estimation techniques, while the acceleration of the HIP is estimated from the HIP position acquired by the encoders of the haptic device. Mass values are assigned to the video object and HIP such that user interaction shall not alter the motion of the video object according to the laws of physics. Then, the dynamic force is computed by using Newton's second law. Finally, it is scaled and displayed to the user through the haptic device in addition to the static forces due to the geometry and texture of the object. Experimental results are provided to demonstrate the difference in rendered forces with and without including the dynamics.

This paper presents a multi-modal approach to locate a speaker in a scene and determine to whom he or she is speaking. We present a simple probabilistic framework that combines multiple cues derived from both audio and video information. A purely visual cue is obtained using a head tracker to identify possible speakers in a scene and provide both their 3-D positions and orientation. In addition, estimates of the audio signal's direction of arrival are obtained with the help of a two-element microphone array. A third cue measures the association between the audio and the tracked regions in the video. Integrating these cues provides a more robust solution than using any single cue alone. The usefulness of our approach is shown in our results for video sequences with two or more people in a prototype interactive kiosk environment.

To make a single diagnosis, today's radiologists must examine thousands of images; yet little effort has been put into refining this time-consuming, repetitive task. Meanwhile, automatic or radiologist-generated annotations may impact how radiologists navigate image stacks as they review lesions of interest. Observation and/or interviews of 19 radiologists revealed that stack scrolling dominated the resulting task examples. We iteratively crafted and obtained radiologist feedback for a variety of prototypes, then evaluated their scrolling and annotation-review support for lay users. With a simplified stack seeded with correct / incorrect annotations, we compared the effect of four scrolling techniques (traditional scrollwheel and click-anddrag, plus sliding-touch, and tilt rate control) and visual vs. haptic annotation cues on scrolling dynamics, detection accuracy and subjective factors. Scrollwheel was fastest overall, and combined visual / haptic annotation cues sped target-finding relative to either modality alone. We share insights on integrating our findings into radiologist practice.

Nous soutenons que la proprioception, en tant que sensibilité articulaire et musculaire, n'est pas un sixième sens, qui serait distinct du toucher. Toucher et proprioception constituent un seul sens : celui qui nous permet d'avoir accès aux propriétés mécaniques mésoscopiques de la réalité. Ce n'est qu'en renonçant à cette distinction que l'on peut rendre compte de la relation d'intimité que le toucher entretient avec le corps, en considérant ce dernier comme le milieu du sens tactile. En ne dénombrant que cinq sens, Aristote aurait dit-on oublié la proprioception. L'ouvrage charnière de Sherrington, The Integrative Action of the Nervous System (1906) serait venu remédier à cette lacune, en introduisant un sens du corps indépendant du toucher. Psychologues et philosophes ont par ailleurs mis en relief la relation étroite que le toucher entretenait avec le corps. Dans toute expérience tactile, il semble qu'il y ait une composante

Some would say without hesitation that intimacy is inherent to stereoscopy. Particularly because stereoscopy is the device par excellence of approach, and of the loss of distances: it amplifies images and brings us near its objects, hence available to the eye and to its very close and detailed viewing. Stereoscopy isolates the observer from the rest of the world, through a viewer, transforming him into a voyeur that is easily
absorbed by the sensuality of the relief. It is therefore not surprising that intimacy has emerged as one of the main themes of the stereoscopic photography.

Once upon a time, a beautiful woman, so beautiful that Aphrodite herself felt envious, found herself in the most unexpected situation. Her parents had exposed her on the slopes of a mountain, so that a monster would abduct her. Apollo had uttered this ominous oracle, in Delphi. The woman was lying there, in terror, but, all of a sudden, a cool breeze transported her into an enchanting palace. Not a living soul was in view, but gentle voices were floating in the air, music played, while exquisite food was served. Welcomed, pampered and tired, the young woman enjoyed a delightful supper and went to bed. In the dark, a most agreeable lover came and joined her. They made love, she lost her virginity and they fell asleep. Before dawn, he slid away. These mysterious visitations continued, night after night. Two bodies became accustomed to lie together, embrace, caress, kiss and have sex – all in the dark. The charming lover remained utterly invisible. And he must remain so: “Do not try to see me!” he said most emphat- ically. His beloved should never, ever make the mistake of trying to discover his face.
We know the story: it is the literary and philosophical myth of Cupid and Psyche, Desire (Latin Cupido) and Soul (Greek, Psuche), in Apuleius’ Metamorphoses, and we know how it ends. Psyche falls prey to the envy of her unattractive sisters, listens to their slanderous intimations and grows increasingly anxious to catch a glimpse of her husband. While he is peacefully sleeping, she kindles a lamp and finally contemplates Desire in person, in his male and youthful splendour. ...We know the plot, and we cannot fail to be surprised that it should revolve around one, striking inability: that of identifying a human forma, through any sense other than vision. More to the point, Apuleius’ text lingers upon the sensuous, sensual and synaesthetic intimacy of Cupid and Psyche, in bed. ...Will the Soul contemplate true Desire, in awe? Not really, because, as soon as she sets eyes on the sleeping beauty, she cannot keep her hands off him. She starts playing with the arrows, which results in a fatal wound. She does not know yet who this winged creature is, but she falls in love. She desires Desire. She loves Love. This is literally love at first sight, we might be tempted to say. But it is her impulsive, clumsy, feverish manipulation of Cupid’s weapons that causes the accident. “She investigates and explores with her hands and she admires the weapons of her husband” (rimatur atque pertrectat et mariti sui miratur arma). Her curiosity guides her eyes, and her hands, in a tentative yet thorough inspection, which is not a pure enjoyment of beauty. Psyche wants to know.
Will to know is wish to touch...

Mobile interaction can potentially be enhanced with welldesigned haptic control and display. However, advances have been limited by a vicious cycle whereby inadequate haptic technology obstructs inception of vitalizing applications. We present the first stages of a systematic design effort to break that cycle, beginning with specific usage scenarios and a new handheld display platform based on lateral skin stretch. Results of a perceptual device characterization inform mappings between device capabilities and specific roles in mobile interaction, and the next step of hardware re-engineering.

The acceptance of master-slave robotic teleoperated applications in the medical field is related not only to the accuracy and precision of the robotic systems but also to the haptic features. Indeed, the capability to render a good haptic feeling, hence the sensation to drive the real surgical tool, is necessary for reaching an effective interaction between surgeon and robotic system.

Haptic Modeling of textile has attracted significant interest over the last decade. In spite of extensive research, no generic system has been proposed. The previous work mainly assumes that textile has a 2D planar structure. They also require time-consuming measurement of textile properties in construction of the mechanical model. A novel approach for haptic modeling of textile is proposed to overcome the existing shortcomings. The method is generic, assumes a 3D structure for the textile, and deploys computational intelligence to estimate the mechanical properties of textile. The approach is designed primarily for display of textile artifacts in museums. The haptic model is constructed by superimposing the mechanical model of textile over its geometrical model. Digital image processing is applied to the still image of textile to identify its pattern and structure through a fuzzy rule-base algorithm. The 3D geometric model of the artifact is automatically generated in VRML based on the identified pattern and structure obtained from the textile image. Selected mechanical properties of the textile are estimated by an artificial neural network; deploying the textile geometric characteristics and yarn properties as inputs. The estimated mechanical properties are then deployed in the construction of the textile mechanical model. The proposed system is introduced and the developed algorithms are described. The validation of method indicates the feasibility of the approach and its superiority to other haptic modeling algorithms.

Haptic interfaces have the potential to enhance communication and interaction via the computer-enabling affective expressive interpersonal communication and enriching interaction by haptic feedback. Still, what exactly their potential is and how we can design in order to fulfil it remains topic of contemporary debate. My contribution to this debate shall be to place some of the current developments into a philosophical and cultural context and to introduce social science based methodologies, which will help broaden the discussion and scope of input. Through semiotic analysis we can predict ‘meaning making ’ in haptic communication that goes beyond linguistic description. Examples of Haptic interfaces shall be positioned as case studies in this typology. Also I describe the Haptic Box and PinKom as my way of investigating a semiotic system of touch. In conclusion, this paper hopes to inform and catalyze the development of a haptic design palette.

We conducted psychophysical experiments to investigate human haptic perception when they experience a step change in friction on an ultrasonically actuated glass surface under two experimental conditions; sliding finger and stationary finger pressed on the surface. During the experiments, the forces acting on the subjects' finger and the out of plane vibrations of the touch surface were measured by a force and a piezoelectric sensor, respectively. The results showed that stationary finger more easily detected falling friction than rising friction while the difference between them was not significant for sliding finger. Moreover, sliding finger was twice more sensitive to changes in friction than stationary finger. Finally, we found that the rate of change of contact forces were best correlated with the subjects' perception of change in friction under both experimental conditions.

This research presents a user evaluation study examining the effect different rendering styles of 3D virtual city models, as intended for navigational purposes, could potentially have on users with emphasis on non-photorealistically rendered (NPR) stylizations. The purpose of this experiment is to establish whether, particularly for the application area mentioned above, non-photorealistic, expressive rendering could provide alternative, more effective visual styles than the photorealistic representations of urban areas usually opted for by developers today. 50 participants were exposed to a predominably questionnaire-based study assessing various parameters by observation of the models on a UMPC (Ultra Mobile PC). The results of this research could potentially have significant implications on how future pedestrian navigational software should be visualised in the future.