Evaluation of Multi-sensory Feedback in Virtual and Real Remote Environments in a USAR Robot Teleoperation Scenario

The area of Human-Robot Interaction deals with problems not only related to robots interacting with humans, but also with problems related to humans interacting and controlling robots. This dissertation focuses on the latter and evaluates multi-sensory (vision, hearing, touch, smell) feedback interfaces as a means to improve robot-operator cognition and performance. A set of four empirical studies using both simulated and real robotic systems evaluated a set of multi-sensory feedback interfaces with various levels of complexity. The task scenario for the robot in these studies involved the search for victims in a debris-filled environment after a fictitious catastrophic event (e.g., earthquake) took place. The results show that, if well-designed, multi-sensory feedback interfaces can indeed improve the robot operator data perception and performance. Improvements in operator performance were detected for navigation and search tasks despite minor increases in workload. In fact, some of the multi-sensory interfaces evaluated even led to a reduction in workload. The results also point out that redundant feedback is not always beneficial to the operator. While introducing the concept of operator omni-directional perception, that is, the operator’s capability of perceiving data or events coming from all senses and in all directions, this work explains that feedback redundancy is only beneficial when it enhances the operator omni-directional perception of data relevant to the task at hand. Last, the comprehensive methodology employed and refined over the course of the four studies is suggested as a starting point for the design of future HRI user studies. In summary, this work sheds some light on the benefits and challenges multi-sensory feedback interfaces bring, specifically on teleoperated robotics. It adds to our current understanding of these kinds of interfaces and provides a few insights to assist the continuation of research in the area

Fourth Annual Workshop on Space Operations Applications and Research (SOAR 90)

The proceedings of the SOAR workshop are presented. The technical areas included are as follows: Automation and Robotics; Environmental Interactions; Human Factors; Intelligent Systems; and Life Sciences. NASA and Air Force programmatic overviews and panel sessions were also held in each technical area

Touch: an enquiry

This thesis forms part of a practice-based enquiry into ‘touch’ from a painter’s perspective. I am investigating touch as a three-way interplay: 1. the act of touch at work in the studio; 2. the sense of touch experienced with and in my body while engaging with my own work and with the paintings of Robert Ryman; and 3. the presence of touch, materially and metaphorically, in the work as a result of my reflective practice in response to an analysis of 1 and 2. I examine the making of two sections of studio work, Touch Screen and Where’s the ’Ouch?; analyse the findings of three days spent with the Ryman installation in the Hallen für Neue Kunst, Schaffhausen, Switzerland; and reflect on the making of a third section of my studio work, Blanks in response to the Hallen experience

Drones, Signals, and the Techno-Colonisation of Landscape

This research project is a cross-disciplinary, creative practice-led investigation that interrogates increasing military interest in the electromagnetic spectrum (EMS). The project’s central argument is that painted visualisations of normally invisible aspects of contemporary EMS-enabled warfare can reveal useful, novel, and speculative but informed perspectives that contribute to debates about war and technology. It pays particular attention to how visualising normally invisible signals reveals an insidious techno-colonisation of our extended environment from Earth to orbiting satellites

Instructional eLearning technologies for the vision impaired

The principal sensory modality employed in learning is vision, and that not only increases the difficulty for vision impaired students from accessing existing educational media but also the new and mostly visiocentric learning materials being offered through on-line delivery mechanisms. Using as a reference Certified Cisco Network Associate (CCNA) and IT Essentials courses, a study has been made of tools that can access such on-line systems and transcribe the materials into a form suitable for vision impaired learning. Modalities employed included haptic, tactile, audio and descriptive text. How such a multi-modal approach can achieve equivalent success for the vision impaired is demonstrated. However, the study also shows the limits of the current understanding of human perception, especially with respect to comprehending two and three dimensional objects and spaces when there is no recourse to vision

Carving Away: An Inquiry into the Act of Making

The act of creating anything, from a novel to a simple meal to a building, requires the combination of many elements. Broadly speaking, these elements are technique, technology, and materiality, the three of which are bought into combination according to the intent of the maker. The effects of the combination of these elements can be very powerful. One need only call to mind the cool, damp weightiness of stepping inside a church whose walls are made of solid stone or to contrast this experience with that of picking up a lightweight rowing shell whose thin wood frame and taut fabric skin combine amazing strength with impossible slenderness. These experiences amaze and move us because the various elements that brought them into being are combined in a harmonious way and one that is aligned with a poetic ambition. This is not to say that all three elements need to be mixed in equal proportions or that there is a hierarchy of importance; it is the mixing that is essential, not the presence of any one element. A specific focus of this thesis is technology and the way that architects use it and are shaped by its use. Many architects have rushed to embrace recent advances in digital design and fabrication tools, forgetting that that the act of making requires the convergence of a number of forces. Focussing too much attention on one will often come at that detriment of another. Through a series of projects, this thesis explores a number of methods of designing and making. The projects undertaken range from a series of hand carved spoons, to sculptural, physical translations of flowing water, through to the full-scale realization of a suspended ceiling for the North House prototype. An effort has been made to work across a variety of scales, and to employ as wide a range of techniques and technologies as possible. These projects have afforded a kind of research through making, one that engages the entire body rather than merely the mind, and which has been supplemented with more traditional means of research. In addition to the role of technology in architectural practice, attention has been paid to the relationship between ways of making and time, and to the way in which certain artists, designers, and architects are able to slow, compress, or even transcend time. A series of brief case studies serves to illustrate how this is possible while also describing a set of values against which the work of this thesis can be calibrated. By its very nature this thesis takes the form of an ongoing project, one in search of a somewhat elusive goal. The path that a powerful and moving project must take is often full of uncertainty. If I am certain of anything however, it is that achieving the proper mixture of elements requires patience, persistence, and a willingness to let a project take on a life of its own

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Sensing the Logic of Writing: Creative Writing Reimagined

This project draws attention to the ‘graphic elements’ – both written and visual – of a creative writing practice by exploring those graphic elements in both the critical component of this mixed-mode dissertation and in a series of creative artefacts. Its principle aim is to record how as a practising creative writer-researcher I have made a series of artefacts as a way of providing an opportunity for readers and researchers to explore this specific instance of theoretically-informed aesthetic experimentation. The psychophysiological researcher, Tony Bastick, having investigated expert ‘experimenters’ in Intuition: How We Think and Act (1982), identified an “intuitive method” that provides “insights” into a “creative process” that is, importantly, “preverbal”, yet not in fact visual (298–299). In this project I raise a different set of questions from those raised by ‘alphabetically’-guided ways of creating writing, as a means of continuing to learn and reinvent my own creative writing practice as mixed-mode (combining written and visual invention). My proposal is to demonstrate how a creative writer-researcher with a keen interest in the visual arts might make an original contribution to the fields of creative writing and visual arts by providing readers with an opportunity to view and examine that set of artefacts alongside a critical document that explores how the choices were made during the double creative process. My central hypothesis is that a practising creative writer-researcher is uniquely situated to identify how her or his own expanded and complexified creative writing process might work and to share that specific crossdisciplinary knowledge as the epistemic aspects of a creative writing practice draws on resonances and exchanges with other disciplines, including the visual arts. On these bases this mixed-mode submission includes a portfolio of writing within a visual arts framework together with a written critical commentary focused on issues raised by those complex practices themselves