Perceptual Model-Driven Authoring of Plausible Vibrations from User Expectations for Virtual Environments

One of the central goals of design is the creation of experiences that are rated favorably in the intended application context. User expectations play an integral role in tactile product quality and tactile plausibility judgments alike. In the vibrotactile authoring process for virtual environments, vibra-tion is created to match the user’s expectations of the presented situational context. Currently, inefficient trial and error approaches attempt to match expectations implicitly. A more efficient, model-driven procedure based explicitly on tactile user expectations would thus be beneficial for author-ing vibrations. In everyday life, we are frequently exposed to various whole-body vibrations. Depending on their temporal and spectral proper-ties we intuitively associate specific perceptual properties such as “tin-gling”. This suggests a systematic relationship between physical parame-ters and perceptual properties. To communicate with potential users about such elicited or expected tactile properties, a standardized design language is proposed. It contains a set of sensory tactile perceptual attributes, which are sufficient to characterize the perceptual space of vibration encountered in everyday life. This design language enables the assessment of quantita-tive tactile perceptual specifications by laypersons that are elicited in situational contexts such as auditory-visual-tactile vehicle scenes. Howev-er, such specifications can also be assessed by providing only verbal de-scriptions of the content of these scenes. Quasi identical ratings observed for both presentation modes suggest that tactile user expectations can be quantified even before any vibration is presented. Such expected perceptu-al specifications are the prerequisite for a subsequent translation into phys-ical vibration parameters. Plausibility can be understood as a similarity judgment between elicited features and expected features. Thus, plausible vibration can be synthesized by maximizing the similarity of the elicited perceptual properties to the expected perceptual properties. Based on the observed relationships between vibration parameters and sensory tactile perceptual attributes, a 1-nearest-neighbor model and a regression model were built. The plausibility of the vibrations synthesized by these models in the context of virtual auditory-visual-tactile vehicle scenes was validat-ed in a perceptual study. The results demonstrated that the perceptual spec-ifications obtained with the design language are sufficient to synthesize vibrations, which are perceived as equally plausible as recorded vibrations in a given situational context. Overall, the demonstrated design method can be a new, more efficient tool for designers authoring vibrations for virtual environments or creating tactile feedback. The method enables further automation of the design process and thus potential time and cost reductions.:Preface III Abstract V Zusammenfassung VII List of Abbreviations XV 1 Introduction 1 1.1 General Introduction 1 1.1 Objectives of the Thesis 4 1.2 Structure of the Thesis 4 2. Tactile Perception in Real and Virtual Environments 7 2.1 Tactile Perception as a Multilayered Process 7 2.1.1 Physical Layer 8 2.1.2 Mechanoreceptor Layer 9 2.1.3 Sensory Layer 19 2.1.4 Affective Layer 26 2.2 Perception of Virtual Environments 29 2.2.1 The Place Illusion 29 2.2.2 The Plausibility Illusion 31 2.3 Approaches for the Authoring of Vibrations 38 2.3.1 Approaches on the Physical Layer 38 2.3.2 Approaches on the Mechanoreceptor Layer 40 2.3.3 Approaches on the Sensory Layer 40 2.3.4 Approaches on the Affective Layer 43 2.4 Summary 43 3. Research Concept 47 3.1 Research Questions 47 3.1.1 Foundations of the Research Concept 47 3.1.2 Research Concept 49 3.2 Limitations 50 4. Development of the Experimental Setup 53 4.1 Hardware 53 4.1.1 Optical Reproduction System 53 4.1.2 Acoustical Reproduction System 54 4.1.3 Whole-Body Vibration Reproduction System 56 4.2 Software 64 4.2.1 Combination of Reproduction Systems for Unimodal and Multimodal Presentation 64 4.2.2 Conducting Perceptual Studies 65 5. Assessment of a Sensory Tactile Design Language for Characterizing Vibration 67 5.1.1 Design Language Requirements 67 5.1.2 Method to Assess the Design Language 69 5.1.3 Goals of this Chapter 70 5.2 Tactile Stimuli 72 5.2.1 Generalization into Excitation Patterns 72 5.2.2 Definition of Parameter Values of the Excitation Patterns 75 5.2.3 Generation of the Stimuli 85 5.2.4 Summary 86 5.3 Assessment of the most relevant Sensory Tactile Perceptual Attributes 86 5.3.1 Experimental Design 87 5.3.2 Participants 88 5.3.3 Results 88 5.3.4 Aggregation and Prioritization 89 5.3.5 Summary 91 5.4 Identification of the Attributes forming the Design Language 92 5.4.1 Experimental Design 93 5.4.2 Participants 95 5.4.3 Results 95 5.4.4 Selecting the Elements of the Sensory Tactile Design Language 106 5.4.5 Summary 109 5.5 Summary and Discussion 109 5.5.1 Summary 109 5.5.2 Discussion 111 6. Quantification of Expected Properties with the Sensory Tactile Design Language 115 6.1 Multimodal Stimuli 116 6.1.1 Selection of the Scenes 116 6.1.2 Recording of the Scenes 117 6.1.3 Recorded Stimuli 119 6.2 Qualitative Communication in the Presence of Vibration 123 6.2.1 Experimental Design 123 6.2.2 Participants 124 6.2.3 Results 124 6.2.4 Summary 126 6.3 Quantitative Communication in the Presence of Vibration 126 6.3.1 Experimental Design 127 6.3.2 Participants 127 6.3.3 Results 127 6.3.4 Summary 129 6.4 Quantitative Communication in the Absence of Vibration 129 6.4.1 Experimental Design 130 6.4.2 Participants 132 6.4.3 Results 132 6.4.4 Summary 134 6.5 Summary and Discussion 135 7. Synthesis Models for the Translation of Sensory Tactile Properties into Vibration 137 7.1 Formalization of the Tactile Plausibility Illusion for Models 139 7.1.1 Formalization of Plausibility 139 7.1.2 Model Boundaries 143 7.2 Investigation of the Influence of Vibration Level on Attribute Ratings 144 7.2.1 Stimuli 145 7.2.2 Experimental Design 145 7.2.3 Participants 146 7.2.4 Results 146 7.2.5 Summary 148 7.3 Comparison of Modulated Vibration to Successive Impulse-like Vibration 148 7.3.1 Stimuli 149 7.3.2 Experimental Design 151 7.3.3 Participants 151 7.3.4 Results 151 7.3.5 Summary 153 7.4 Synthesis Based on the Discrete Estimates of a k-Nearest-Neighbor Classifier 153 7.4.1 Definition of the K-Nearest-Neighbor Classifier 154 7.4.2 Analysis Model 155 7.4.3 Synthesis Model 156 7.4.4 Interpolation of acceleration level for the vibration attribute profile pairs 158 7.4.5 Implementation of the Synthesis 159 7.4.6 Advantages and Disadvantages 164 7.5 Synthesis Based on the Quasi-Continuous Estimates of Regression Models 166 7.5.1 Overall Model Structure 168 7.5.2 Classification of the Excitation Pattern with a Support Vector Machine 171 7.5.3 General Approach to the Regression Models of each Excitation Pattern 178 7.5.4 Synthesis for the Impulse-like Excitation Pattern 181 7.5.5 Synthesis for the Bandlimited White Gaussian Noise Excitation Pattern 187 7.5.6 Synthesis for the Amplitude Modulated Sinusoidal Excitation Pattern 193 7.5.7 Synthesis for the Sinusoidal Excitation Pattern 199 7.5.8 Implementation of the Synthesis 205 7.5.9 Advantages and Disadvantages of the Approach 208 7.6 Validation of the Synthesis Models 210 7.6.1 Stimuli 212 7.6.2 Experimental Design 212 7.6.3 Participants 214 7.6.4 Results 214 7.6.5 Summary 219 7.7 Summary and Discussion 219 7.7.1 Summary 219 7.7.2 Discussion 222 8. General Discussion and Outlook 227 Acknowledgment 237 References 237Eines der zentralen Ziele des Designs von Produkten oder virtuellen Um-gebungen ist die Schaffung von Erfahrungen, die im beabsichtigten An-wendungskontext die Erwartungen der Benutzer erfüllen. Gegenwärtig versucht man im vibrotaktilen Authoring-Prozess mit ineffizienten Trial-and-Error-Verfahren, die Erwartungen an den dargestellten, virtuellen Situationskontext implizit zu erfüllen. Ein effizienteres, modellgetriebenes Verfahren, das explizit auf den taktilen Benutzererwartungen basiert, wäre daher von Vorteil. Im Alltag sind wir häufig verschiedenen Ganzkörper-schwingungen ausgesetzt. Abhängig von ihren zeitlichen und spektralen Eigenschaften assoziieren wir intuitiv bestimmte Wahrnehmungsmerkmale wie z.B. “kribbeln”. Dies legt eine systematische Beziehung zwischen physikalischen Parametern und Wahrnehmungsmerkmalen nahe. Um mit potentiellen Nutzern über hervorgerufene oder erwartete taktile Eigen-schaften zu kommunizieren, wird eine standardisierte Designsprache vor-geschlagen. Sie enthält eine Menge von sensorisch-taktilen Wahrneh-mungsmerkmalen, die hinreichend den Wahrnehmungsraum der im Alltag auftretenden Vibrationen charakterisieren. Diese Entwurfssprache ermög-licht die quantitative Beurteilung taktiler Wahrnehmungsmerkmale, die in Situationskontexten wie z.B. auditiv-visuell-taktilen Fahrzeugszenen her-vorgerufen werden. Solche Wahrnehmungsspezifikationen können jedoch auch bewertet werden, indem der Inhalt dieser Szenen verbal beschrieben wird. Quasi identische Bewertungen für beide Präsentationsmodi deuten darauf hin, dass die taktilen Benutzererwartungen quantifiziert werden können, noch bevor eine Vibration präsentiert wird. Die erwarteten Wahr-nehmungsspezifikationen sind die Voraussetzung für eine anschließende Übersetzung in physikalische Schwingungsparameter. Plausible Vibratio-nen können synthetisiert werden, indem die erwarteten Wahrnehmungs-merkmale hervorgerufen werden. Auf der Grundlage der beobachteten Beziehungen zwischen Schwingungs¬parametern und sensorisch-taktilen Wahrnehmungsmerkmalen wurden ein 1-Nearest-Neighbor-Modell und ein Regressionsmodell erstellt. Die Plausibilität der von diesen Modellen synthetisierten Schwingungen im Kontext virtueller, auditorisch-visuell-taktiler Fahrzeugszenen wurde in einer Wahrnehmungsstudie validiert. Die Ergebnisse zeigten, dass die mit der Designsprache gewonnenen Wahr-nehmungsspezifikationen ausreichen, um Schwingungen zu synthetisieren, die in einem gegebenen Situationskontext als ebenso plausibel empfunden werden wie aufgezeichnete Schwingungen. Die demonstrierte Entwurfsme-thode stellt ein neues, effizienteres Werkzeug für Designer dar, die Schwingungen für virtuelle Umgebungen erstellen oder taktiles Feedback für Produkte erzeugen.:Preface III Abstract V Zusammenfassung VII List of Abbreviations XV 1 Introduction 1 1.1 General Introduction 1 1.1 Objectives of the Thesis 4 1.2 Structure of the Thesis 4 2. Tactile Perception in Real and Virtual Environments 7 2.1 Tactile Perception as a Multilayered Process 7 2.1.1 Physical Layer 8 2.1.2 Mechanoreceptor Layer 9 2.1.3 Sensory Layer 19 2.1.4 Affective Layer 26 2.2 Perception of Virtual Environments 29 2.2.1 The Place Illusion 29 2.2.2 The Plausibility Illusion 31 2.3 Approaches for the Authoring of Vibrations 38 2.3.1 Approaches on the Physical Layer 38 2.3.2 Approaches on the Mechanoreceptor Layer 40 2.3.3 Approaches on the Sensory Layer 40 2.3.4 Approaches on the Affective Layer 43 2.4 Summary 43 3. Research Concept 47 3.1 Research Questions 47 3.1.1 Foundations of the Research Concept 47 3.1.2 Research Concept 49 3.2 Limitations 50 4. Development of the Experimental Setup 53 4.1 Hardware 53 4.1.1 Optical Reproduction System 53 4.1.2 Acoustical Reproduction System 54 4.1.3 Whole-Body Vibration Reproduction System 56 4.2 Software 64 4.2.1 Combination of Reproduction Systems for Unimodal and Multimodal Presentation 64 4.2.2 Conducting Perceptual Studies 65 5. Assessment of a Sensory Tactile Design Language for Characterizing Vibration 67 5.1.1 Design Language Requirements 67 5.1.2 Method to Assess the Design Language 69 5.1.3 Goals of this Chapter 70 5.2 Tactile Stimuli 72 5.2.1 Generalization into Excitation Patterns 72 5.2.2 Definition of Parameter Values of the Excitation Patterns 75 5.2.3 Generation of the Stimuli 85 5.2.4 Summary 86 5.3 Assessment of the most relevant Sensory Tactile Perceptual Attributes 86 5.3.1 Experimental Design 87 5.3.2 Participants 88 5.3.3 Results 88 5.3.4 Aggregation and Prioritization 89 5.3.5 Summary 91 5.4 Identification of the Attributes forming the Design Language 92 5.4.1 Experimental Design 93 5.4.2 Participants 95 5.4.3 Results 95 5.4.4 Selecting the Elements of the Sensory Tactile Design Language 106 5.4.5 Summary 109 5.5 Summary and Discussion 109 5.5.1 Summary 109 5.5.2 Discussion 111 6. Quantification of Expected Properties with the Sensory Tactile Design Language 115 6.1 Multimodal Stimuli 116 6.1.1 Selection of the Scenes 116 6.1.2 Recording of the Scenes 117 6.1.3 Recorded Stimuli 119 6.2 Qualitative Communication in the Presence of Vibration 123 6.2.1 Experimental Design 123 6.2.2 Participants 124 6.2.3 Results 124 6.2.4 Summary 126 6.3 Quantitative Communication in the Presence of Vibration 126 6.3.1 Experimental Design 127 6.3.2 Participants 127 6.3.3 Results 127 6.3.4 Summary 129 6.4 Quantitative Communication in the Absence of Vibration 129 6.4.1 Experimental Design 130 6.4.2 Participants 132 6.4.3 Results 132 6.4.4 Summary 134 6.5 Summary and Discussion 135 7. Synthesis Models for the Translation of Sensory Tactile Properties into Vibration 137 7.1 Formalization of the Tactile Plausibility Illusion for Models 139 7.1.1 Formalization of Plausibility 139 7.1.2 Model Boundaries 143 7.2 Investigation of the Influence of Vibration Level on Attribute Ratings 144 7.2.1 Stimuli 145 7.2.2 Experimental Design 145 7.2.3 Participants 146 7.2.4 Results 146 7.2.5 Summary 148 7.3 Comparison of Modulated Vibration to Successive Impulse-like Vibration 148 7.3.1 Stimuli 149 7.3.2 Experimental Design 151 7.3.3 Participants 151 7.3.4 Results 151 7.3.5 Summary 153 7.4 Synthesis Based on the Discrete Estimates of a k-Nearest-Neighbor Classifier 153 7.4.1 Definition of the K-Nearest-Neighbor Classifier 154 7.4.2 Analysis Model 155 7.4.3 Synthesis Model 156 7.4.4 Interpolation of acceleration level for the vibration attribute profile pairs 158 7.4.5 Implementation of the Synthesis 159 7.4.6 Advantages and Disadvantages 164 7.5 Synthesis Based on the Quasi-Continuous Estimates of Regression Models 166 7.5.1 Overall Model Structure 168 7.5.2 Classification of the Excitation Pattern with a Support Vector Machine 171 7.5.3 General Approach to the Regression Models of each Excitation Pattern 178 7.5.4 Synthesis for the Impulse-like Excitation Pattern 181 7.5.5 Synthesis for the Bandlimited White Gaussian Noise Excitation Pattern 187 7.5.6 Synthesis for the Amplitude Modulated Sinusoidal Excitation Pattern 193 7.5.7 Synthesis for the Sinusoidal Excitation Pattern 199 7.5.8 Implementation of the Synthesis 205 7.5.9 Advantages and Disadvantages of the Approach 208 7.6 Validation of the Synthesis Models 210 7.6.1 Stimuli 212 7.6.2 Experimental Design 212 7.6.3 Participants 214 7.6.4 Results 214 7.6.5 Summary 219 7.7 Summary and Discussion 219 7.7.1 Summary 219 7.7.2 Discussion 222 8. General Discussion and Outlook 227 Acknowledgment 237 References 23

Biosensing and Actuation—Platforms Coupling Body Input-Output Modalities for Affective Technologies

Research in the use of ubiquitous technologies, tracking systems and wearables within mental health domains is on the rise. In recent years, affective technologies have gained traction and garnered the interest of interdisciplinary fields as the research on such technologies matured. However, while the role of movement and bodily experience to affective experience is well-established, how to best address movement and engagement beyond measuring cues and signals in technology-driven interactions has been unclear. In a joint industry-academia effort, we aim to remodel how affective technologies can help address body and emotional self-awareness. We present an overview of biosignals that have become standard in low-cost physiological monitoring and show how these can be matched with methods and engagements used by interaction designers skilled in designing for bodily engagement and aesthetic experiences. Taking both strands of work together offers unprecedented design opportunities that inspire further research. Through first-person soma design, an approach that draws upon the designer’s felt experience and puts the sentient body at the forefront, we outline a comprehensive work for the creation of novel interactions in the form of couplings that combine biosensing and body feedback modalities of relevance to affective health. These couplings lie within the creation of design toolkits that have the potential to render rich embodied interactions to the designer/user. As a result we introduce the concept of “orchestration”. By orchestration, we refer to the design of the overall interaction: coupling sensors to actuation of relevance to the affective experience; initiating and closing the interaction; habituating; helping improve on the users’ body awareness and engagement with emotional experiences; soothing, calming, or energising, depending on the affective health condition and the intentions of the designer. Through the creation of a range of prototypes and couplings we elicited requirements on broader orchestration mechanisms. First-person soma design lets researchers look afresh at biosignals that, when experienced through the body, are called to reshape affective technologies with novel ways to interpret biodata, feel it, understand it and reflect upon our bodies

Is Multimedia Multisensorial? - A Review of Mulsemedia Systems

© 2018 Copyright held by the owner/author(s). Mulsemedia - multiple sensorial media - makes possible the inclusion of layered sensory stimulation and interaction through multiple sensory channels. e recent upsurge in technology and wearables provides mulsemedia researchers a vehicle for potentially boundless choice. However, in order to build systems that integrate various senses, there are still some issues that need to be addressed. is review deals with mulsemedia topics remained insu ciently explored by previous work, with a focus on multi-multi (multiple media - multiple senses) perspective, where multiple types of media engage multiple senses. Moreover, it addresses the evolution of previously identi ed challenges in this area and formulates new exploration directions.This article was funded by the European Union’s Horizon 2020 Research and Innovation program under Grant Agreement no. 688503

Sonic Interactions in Virtual Environments

This open access book tackles the design of 3D spatial interactions in an audio-centered and audio-first perspective, providing the fundamental notions related to the creation and evaluation of immersive sonic experiences. The key elements that enhance the sensation of place in a virtual environment (VE) are: Immersive audio: the computational aspects of the acoustical-space properties of Virutal Reality (VR) technologies Sonic interaction: the human-computer interplay through auditory feedback in VE VR systems: naturally support multimodal integration, impacting different application domains Sonic Interactions in Virtual Environments will feature state-of-the-art research on real-time auralization, sonic interaction design in VR, quality of the experience in multimodal scenarios, and applications. Contributors and editors include interdisciplinary experts from the fields of computer science, engineering, acoustics, psychology, design, humanities, and beyond. Their mission is to shape an emerging new field of study at the intersection of sonic interaction design and immersive media, embracing an archipelago of existing research spread in different audio communities and to increase among the VR communities, researchers, and practitioners, the awareness of the importance of sonic elements when designing immersive environments

Sonic Interactions in Virtual Environments

This open access book tackles the design of 3D spatial interactions in an audio-centered and audio-first perspective, providing the fundamental notions related to the creation and evaluation of immersive sonic experiences. The key elements that enhance the sensation of place in a virtual environment (VE) are: Immersive audio: the computational aspects of the acoustical-space properties of Virutal Reality (VR) technologies Sonic interaction: the human-computer interplay through auditory feedback in VE VR systems: naturally support multimodal integration, impacting different application domains Sonic Interactions in Virtual Environments will feature state-of-the-art research on real-time auralization, sonic interaction design in VR, quality of the experience in multimodal scenarios, and applications. Contributors and editors include interdisciplinary experts from the fields of computer science, engineering, acoustics, psychology, design, humanities, and beyond. Their mission is to shape an emerging new field of study at the intersection of sonic interaction design and immersive media, embracing an archipelago of existing research spread in different audio communities and to increase among the VR communities, researchers, and practitioners, the awareness of the importance of sonic elements when designing immersive environments

Portfolio of original compositions with written commentary

Sound propagates through space as a series of vibrations which are mediated, perceived and interpreted by the listening body. Whilst the body receives the physicality of sound, we predominantly focus on our listening experience through audition. In this work, I propose approaches to employing haptics, or vibration technologies, as a mechanism through which we can extend our experience of sound across the body and achieve a greater control of its physical presence. I will discuss ideas pertaining to sound as a physical and embodied practice, and the ways that I have explored this through developing conceptual systems relating sonic and physical materials. During the production of this work, themes of embodiment, mediation and immersion emerge which are unpacked through this commentary. Many of the works in this portfolio employ an audio and a haptic element that controls sound and vibration in synchrony, with the physical element rendered on bespoke haptic displays. A latter work explores the development of and performances with an algorithmic language for choreography. In this commentary, I reflect on each individual piece, documenting the process of making and subsequent outcomes to my creative thinking. Overall this project is underlined by a reflexive methodology where each new piece of practice influences the formation of the next—revealing new opportunities, concepts and technological approaches. I do not present a framework for the development of audio-haptic works, instead, I document and reflect on the processes through which my own practice has found connections, tensions and opportunities between the two forms. I conclude that whilst the inclusion of haptics heavily mediates and reconfigures the experience of listening, it can function as an immersive addition to sound that provokes presence, aura and tangibility in abstraction

Haptics: Science, Technology, Applications

This open access book constitutes the proceedings of the 12th International Conference on Human Haptic Sensing and Touch Enabled Computer Applications, EuroHaptics 2020, held in Leiden, The Netherlands, in September 2020. The 60 papers presented in this volume were carefully reviewed and selected from 111 submissions. The were organized in topical sections on haptic science, haptic technology, and haptic applications. This year's focus is on accessibility

On the critical role of the sensorimotor loop on the design of interaction techniques and interactive devices

People interact with their environment thanks to their perceptual and motor skills. This is the way they both use objects around them and perceive the world around them. Interactive systems are examples of such objects. Therefore to design such objects, we must understand how people perceive them and manipulate them. For example, haptics is both related to the human sense of touch and what I call the motor ability. I address a number of research questions related to the design and implementation of haptic, gestural, and touch interfaces and present examples of contributions on these topics. More interestingly, perception, cognition, and action are not separated processes, but an integrated combination of them called the sensorimotor loop. Interactive systems follow the same overall scheme, with differences that make the complementarity of humans and machines. The interaction phenomenon is a set of connections between human sensorimotor loops, and interactive systems execution loops. It connects inputs with outputs, users and systems, and the physical world with cognition and computing in what I call the Human-System loop. This model provides a complete overview of the interaction phenomenon. It helps to identify the limiting factors of interaction that we can address to improve the design of interaction techniques and interactive devices.Les humains interagissent avec leur environnement grâce à leurs capacités perceptives et motrices. C'est ainsi qu'ils utilisent les objets qui les entourent et perçoivent le monde autour d'eux. Les systèmes interactifs sont des exemples de tels objets. Par conséquent, pour concevoir de tels objets, nous devons comprendre comment les gens les perçoivent et les manipulent. Par exemple, l'haptique est à la fois liée au sens du toucher et à ce que j'appelle la capacité motrice. J'aborde un certain nombre de questions de recherche liées à la conception et à la mise en œuvre d'interfaces haptiques, gestuelles et tactiles et je présente des exemples de contributions sur ces sujets. Plus intéressant encore, la perception, la cognition et l'action ne sont pas des processus séparés, mais une combinaison intégrée d'entre eux appelée la boucle sensorimotrice. Les systèmes interactifs suivent le même schéma global, avec des différences qui forme la complémentarité des humains et des machines. Le phénomène d'interaction est un ensemble de connexions entre les boucles sensorimotrices humaines et les boucles d'exécution des systèmes interactifs. Il relie les entrées aux sorties, les utilisateurs aux systèmes, et le monde physique à la cognition et au calcul dans ce que j'appelle la boucle Humain-Système. Ce modèle fournit un aperçu complet du phénomène d'interaction. Il permet d'identifier les facteurs limitatifs de l'interaction que nous pouvons aborder pour améliorer la conception des techniques d'interaction et des dispositifs interactifs

Haptics: Science, Technology, Applications

This open access book constitutes the proceedings of the 12th International Conference on Human Haptic Sensing and Touch Enabled Computer Applications, EuroHaptics 2020, held in Leiden, The Netherlands, in September 2020. The 60 papers presented in this volume were carefully reviewed and selected from 111 submissions. The were organized in topical sections on haptic science, haptic technology, and haptic applications. This year's focus is on accessibility