Exploration of Reaction Pathways and Chemical Transformation Networks

For the investigation of chemical reaction networks, the identification of all relevant intermediates and elementary reactions is mandatory. Many algorithmic approaches exist that perform explorations efficiently and automatedly. These approaches differ in their application range, the level of completeness of the exploration, as well as the amount of heuristics and human intervention required. Here, we describe and compare the different approaches based on these criteria. Future directions leveraging the strengths of chemical heuristics, human interaction, and physical rigor are discussed.Comment: 48 pages, 4 figure

Prop-Based Haptic Interaction with Co-location and Immersion: an Automotive Application

Most research on 3D user interfaces aims at providing only a single sensory modality. One challenge is to integrate several sensory modalities into a seamless system while preserving each modality's immersion and performance factors. This paper concerns manipulation tasks and proposes a visuo-haptic system integrating immersive visualization, tactile force and tactile feedback with co-location. An industrial application is presented

Affordance of vibrational excitation for music composition and performance

Mechanical vibrations have typically been used in the performance domain within feedback systems to inform musicians of system states or as communication channels between performers. In this paper, we propose the addi- tional taxonomic category of vibrational excitation of mu- sical instruments for sound generation. To explore the va- riety of possibilities associated with this extended taxon- omy, we present the Oktopus, a multi-purpose wireless sys- tem capable of motorised vibrational excitation. The sys- tem can receive up to eight inputs and generates vibrations as outputs through eight motors that can be positioned ac- cordingly to produce a wide range of sounds from an ex- cited instrument. We demonstrate the usefulness of the proposed system and extended taxonomy through the de- velopment and performance of Live Mechanics, a compo- sition for piano and interactive electronics

Evaluation of Haptic Patterns on a Steering Wheel

Infotainment Systems can increase mental workload and divert visual attention away from looking ahead on the roads. When these systems give information to the driver, provide it through the tactile channel on the steering, it wheel might improve driving behaviour and safety. This paper describes an investigation into the perceivability of haptic feedback patterns using an actuated surface on a steering wheel. Six solenoids were embedded along the rim of the steering wheel creating three bumps under each palm. Maximally, four of the six solenoids were actuated simultaneously, resulting in 56 patterns to test. Participants were asked to keep in the middle road of the driving simulator as good as possible. Overall recognition accuracy of the haptic patterns was 81.3%, where identification rate increased with decreasing number of active solenoids (up to 92.2% for a single solenoid). There was no significant increase in lane deviation or steering angle during haptic pattern presentation. These results suggest that drivers can reliably distinguish between cutaneous patterns presented on the steering wheel. Our findings can assist in delivering non-critical messages to the driver (e.g. driving performance, incoming text messages, etc.) without decreasing driving performance or increasing perceived mental workload

Haptic-GeoZui3D: Exploring the Use of Haptics in AUV Path Planning

We have developed a desktop virtual reality system that we call Haptic-GeoZui3D, which brings together 3D user interaction and visualization to provide a compelling environment for AUV path planning. A key component in our system is the PHANTOM haptic device (SensAble Technologies, Inc.), which affords a sense of touch and force feedback – haptics – to provide cues and constraints to guide the user’s interaction. This paper describes our system, and how we use haptics to significantly augment our ability to lay out a vehicle path. We show how our system works well for quickly defining simple waypoint-towaypoint (e.g. transit) path segments, and illustrate how it could be used in specifying more complex, highly segmented (e.g. lawnmower survey) paths

Impedance active control of flight control devices

The work presented in this paper concerns the active control of flight control devices (sleeves, yokes, side-sticks, rudder pedals,...). The objective is to replace conventional technologies by active technology to save weight and to feedback kinesthetic sensations to the pilot. Some architectures are proposed to control the device mechanical impedance felt by pilot and to couple pilot and co-pilot control devices. A first experimental test-bed was developed to validate and illustrate control laws and theirs limitations due to dynamic couplings with the pilot own-impedance

Physical Modelling Concepts for a Collection of Multisensory Virtual Musical Instruments

International audienceThis paper discusses how haptic devices and physical modelling can be employed to design and simulate multisensory virtual musical instruments, providing the musician with joint audio, visual and haptic feedback. After briefly reviewing some of the main use-cases of haptics in Computer Music, we present GENESIS-RT, a software and hardware platform dedicated to the design and real-time haptic playing of virtual musical instruments using mass-interaction physical modelling. We discuss our approach and report on advancements in modelling various instrument categories, including physical models of percussion, plucked and bowed instruments. Finally, we comment on the constraints, challenges and new possibilities opened by modelling haptic virtual instruments with our platform, and discuss common points and differences in regards to classical Digital Musical Instruments

To “Sketch-a-Scratch”

A surface can be harsh and raspy, or smooth and silky, and everything in between. We are used to sense these features with our fingertips as well as with our eyes and ears: the exploration of a surface is a multisensory experience. Tools, too, are often employed in the interaction with surfaces, since they augment our manipulation capabilities. “Sketch-a-Scratch” is a tool for the multisensory exploration and sketching of surface textures. The user’s actions drive a physical sound model of real materials’ response to interactions such as scraping, rubbing or rolling. Moreover, different input signals can be converted into 2D visual surface profiles, thus enabling to experience them visually, aurally and haptically

Sampling the past:a tactile approach to interactive musical instrument exhibits in the heritage sector

In the last decade, the heritage sector has had to adapt to a shifting cultural landscape of public expectations and attitudes towards ownership and intellectual property. One way it has done this is to focus on each visitor’s encounter and provide them with a sense of experiential authenticity.There is a clear desire by the public to engage with music collections in this way, and a sound museological rationale for providing such access, but the approach raises particular curatorial problems, specifically how do we meaningfully balance access with the duty to preserve objects for future generations?This paper charts the development of one such project. Based at Fenton House in Hampstead, and running since 2008, the project seeks to model digitally the keyboard instruments in the Benton Fletcher Collection and provide a dedicated interactive exhibit, which allows visitors to view all of the instruments in situ, and then play them through a custom-built two-manual MIDI controller with touch-screen interface.We discuss the approach to modelling, which uses high-definition sampling, and highlight the strengths and weaknesses of the exhibit as it currently stands, with particular focus on its key shortcoming: at present, there is no way to effectively model the key feel of a historic keyboard instrument.This issue is of profound importance, since the feel of any instrument is fundamental to its character, and shapes the way performers relate to it. The issue is further compounded if we are to consider a single dedicated keyboard as being the primary mode of interface for several instrument models of different classes, each with its own characteristic feel.We conclude by proposing an outline solution to this problem, detailing early work on a real-time adaptive haptic keyboard interface that changes its action in response to sampled resistance curves, measured on a key-by-key basis from the original instruments

INTERACTIVE PHYSICAL DESIGN AND HAPTIC PLAYING OF VIRTUAL MUSICAL INSTRUMENTS

International audienceIn Computer Music, a practical approach of many Digital Musical Instruments is to separate the gestural input stage from the sound synthesis stage. While these instruments offer many creative possibilities, they present a strong rupture with traditional acoustic instruments, as the physical coupling between human and sound is broken. This coupling plays a crucial role for the expressive musical playing of acoustic instruments; we believe restoring it in a digital context is of equal importance for revealing the full expressive potential of digital instruments. This paper first presents haptic and physical modelling technologies for representing the mechano-acoustical instrumental situation in the context of DMIs. From these technologies, a prototype environment has been implemented for both designing virtual musical instruments and interacting with them via a force feedback device, able to preserve the energetic coherency of the musician-sound chain