Haptic Human-Computer Interaction: First International Workshop, Glasgow, UK, August 31-September 1, 2000: Proceedings

Haptic, human-computer interaction is interaction between a human computer user and the computer user interface based on the powerful human sense of touch. Haptic hardware has been discussed and explored for some time, in particular in the context of computer games. Haptic technology is now maturing and migrating from research labs into real-world applications and commercial products. However, so far, little attention has been paid to the general principles of haptic HCI and the systematic use of haptic devices for improving efficiency, effectiveness, and satisfaction in HCI

Haptic Human-Computer Interaction: First International Workshop, Glasgow, UK, August 31-September 1, 2000: Proceedings

Haptic, human-computer interaction is interaction between a human computer user and the computer user interface based on the powerful human sense of touch. Haptic hardware has been discussed and explored for some time, in particular in the context of computer games. Haptic technology is now maturing and migrating from research labs into real-world applications and commercial products. However, so far, little attention has been paid to the general principles of haptic HCI and the systematic use of haptic devices for improving efficiency, effectiveness, and satisfaction in HCI

Concevoir des interfaces tangibles et spatiales pour les déficients visuels : pourquoi et comment ?

International audienceMaking geographical maps and graphical representations accessible to visually impaired users is essential. To do so, a variety of approaches exist, whether traditional or technological. Among them, tangible interfaces, although very promising, have not been thoroughly investigated. In this article, we analyze five research prototypes in order to identify the aspects that have to be taken into account when designing spatial tangible interfaces for visually impaired users, and we present the various solutions that have been proposed to address the most commonly encountered problems. In this way we hope to facilitate and support the development and evaluation of spatial tangible interfaces.Rendre les cartes géographiques et les représentations graphiques accessibles aux personnes déficientes visuelles est primordial. Pour cela, de nombreuses solutions existent, qu’elles soient artisanales ou technologiques. Parmi ces dernières, les interfaces tangibles, bien que très prometteuses, ont été très peu étudiées. Dans cet article, nous analysons cinq prototypes issus de la littérature afin d’identifier les facteurs à prendre en compte lors de la conception d’interfaces tangibles et spatiales pour les déficients visuels, et nous présentons les solutions proposées pour répondre aux difficultés techniques fréquemment rencontrées. Nous souhaitons ainsi faciliter et encourager le développement et l’évaluation d’interfaces tangibles et spatiales

O ambiente virtual áudio-háptico como instrumento para a Aprendizagem de geometria : estudo das formas para estudantes cegos

O desenvolvimento das habilidades para os objetos de conhecimento da geometria está relacionado com as formas de organização de aprendizagem matemática e com os recursos didáticos utilizados para a construção de competências para o pensamento matemático (BRASIL, 2017). Esta tese se propõe a investigar como um ambiente virtual áudio-háptico pode contribuir na aprendizagem de geometria para estudantes cegos no Ensino Fundamental, com base em uma sequência de tarefas que contemplem os objetivos de conhecimento e habilidades previstos na Base Nacional Comum Curricular (BNCC). O referencial teórico proposto para esta pesquisa destaca os seguintes temas: a Teoria da Abstração Reflexionante de Piaget (1995), que traz contribuições para a compreensão da construção de conhecimentos; a percepção háptica humana na perspectiva de Lederman e Klatzky (1987), que propõem um conjunto de procedimentos exploratórios (Exploratory Procedure – EPs) para uma pessoa examinar um objeto com ou sem visão no intuito de perceber propriedades por intermédio do tato, bem como discutem as sensações que são convertidas pelo cérebro em informações cutâneas e cinestésica; a tecnologia háptica de hardware, em que se apresentam os dispositivos que permitem a interação de pessoas com ambientes virtuais por meio do tato e feedback de força; e o estudo da geometria, evidenciando a importância da aprendizagem dos conceitos geométricos no Ensino Fundamental, e a Tecnologia Assistiva digital com foco no sentido tátil-cinestésico para inclusão de estudantes cegos no estudo da geometria. A pesquisa apresenta abordagem qualitativa de natureza aplicada e foi realizada no Instituto Benjamin Constant, instituição de ensino para deficientes visuais localizada no bairro da Urca, na cidade e no estado do Rio de Janeiro. Para a coleta de dados, foram utilizadas as técnicas de observação participante, gravação de vídeo e Think Aloud, com o intuito de explorar os fatores de eficácia e eficiência e o mecanismo de abstração reflexionante na construção de conhecimentos geométricos. Os dados coletados foram analisados por meio da técnica de análise categorial prevista no método de análise de conteúdo (BARDIN, 2016). Acredita-se que esta tese possa contribuir como um recurso assistivo que apoie a aprendizagem de geometria – estudo das formas para estudantes cegos no Ensino Fundamental.The development of skills for the objects of knowledge of geometry is related to the forms of organization of mathematical learning and the didactic resources used to build competencies for mathematical thinking (BRASIL, 2017). This thesis aims to investigate how an audiohaptic virtual environment can contribute to Geometry Learning for Blind Elementary School Students, based on a sequence of tasks that address the objectives of knowledge and skills foreseen in the Common National Curriculum Base (BNCC). The theoretical framework proposed for this research highlights the following themes: Piaget's theory of reflect abstraction, Piaget (1995), which brings contributions to the understanding of the construction of knowledge; the human pain perception from the perspective of Lederman and Klatzky (1987), who propose a set of Exploratory Procedures (EPs) for a person to examine an object with or without vision in order to perceive properties through touch, as well as discuss the sensations that are converted by the brain into cutaneous and kinesthetic information; the political technology of hardware, in which the devices that allow the interaction of people with virtual environments through touch and force feedback are presented; and the study of geometry, evidencing the importance of learning geometric concepts in Elementary School, and digital assistive technology focused on the tactile-kinesthetic sense for the inclusion of blind students in the study of geometry. The research presents a qualitative approach of an applied nature and was held at the Benjamin Constant Institute, an educational institution for the visually impaired located in the Urca neighborhood, in the city and in the state of Rio de Janeiro. For data collection of this investigation, participant observation, video recording and Think Aloud techniques were used in order to explore the factors of efficacy and efficiency and the mechanism of reflecting abstraction in the construction of geometric knowledge. The collected data were analyzed using the category analysis technique provided for in the content analysis method (BARDIN, 2016). It is believed that this can contribute as an assistive resource that supports the learning of geometry – study of forms for blind students in Elementary School

Expressing Tacit Material Sensations from a Robo-Sculpting Process by Communicating Shared Haptic Experiences

A sculptor's sense of touch is paramount because we experience sculpting in the iterative process of making new objects. Making sculpture is a process of expressing the inner 'tacit-self' by way of tangible material interactions that become shared artefacts. The existence of tacit- tactile awareness indicates a natural world of personal haptic experience that this thesis will attempt to unpack. Tele-haptic solutions are presented in the form of two robotic sculptures, Touchbot #1 and Touchbot #2. Touchbots (collectively) are the study objects that this practice- based art-research thesis produced, to ask the question: Is it possible to create a machine that could capture and retransmit tacit-tactile experiences within the artistic act of sculpting, through material engagement, from a sculptor's hand to a non-sculptor's hand? Research, conducted and presented, aims to demonstrate that robotic haptic feedback is a vehicle for communicating 'touch' messages through mechanical transmission during sculptural actions (demonstrated through participant interviews and video observation analysis). Additionally, an epistemological context for exploring 'hands-on' knowledge and practice deficits in machine-assisted object modelling is presented including: Michael Polanyi's Tacit Dimension (Polanyi, 2009), David Gooding's Thing Knowledge (Gooding, 2004, p. 1) and Lambros Malafouris' "Material Agency" and material culture (Malafouris, 2008, pp. 19-36). Intersecting bodies of knowledge weave a common thread to support developing a method of communicating tacit sculptural information using haptic touch experience. Unfortunately, there exists more tele-haptics and telerobotics technology for industrial applications than artworks using the same technology. For instance, 'rapid prototyping' technology—such as 3D printers—is removing human tactile-material interaction from object making altogether. In response to the technological obstacle of expanding contemporary interactive sculpture, haptics is applied to include real-time, iterative, robotically assisted object modelling. A review of contemporary haptic technology demonstrates a gap in our understanding iii of embodied knowledge transference. A shortlist of contemporary artists and their works that address the communication of tacit-haptic experiences is also offered, highlighting the importance of exploring embodied knowledge transfer

Expressing Tacit Material Sensations from a Robo-Sculpting Process by Communicating Shared Haptic Experiences

A sculptor's sense of touch is paramount because we experience sculpting in the iterative process of making new objects. Making sculpture is a process of expressing the inner 'tacit-self' by way of tangible material interactions that become shared artefacts. The existence of tacit- tactile awareness indicates a natural world of personal haptic experience that this thesis will attempt to unpack. Tele-haptic solutions are presented in the form of two robotic sculptures, Touchbot #1 and Touchbot #2. Touchbots (collectively) are the study objects that this practice- based art-research thesis produced, to ask the question: Is it possible to create a machine that could capture and retransmit tacit-tactile experiences within the artistic act of sculpting, through material engagement, from a sculptor's hand to a non-sculptor's hand? Research, conducted and presented, aims to demonstrate that robotic haptic feedback is a vehicle for communicating 'touch' messages through mechanical transmission during sculptural actions (demonstrated through participant interviews and video observation analysis). Additionally, an epistemological context for exploring 'hands-on' knowledge and practice deficits in machine-assisted object modelling is presented including: Michael Polanyi's Tacit Dimension (Polanyi, 2009), David Gooding's Thing Knowledge (Gooding, 2004, p. 1) and Lambros Malafouris' "Material Agency" and material culture (Malafouris, 2008, pp. 19-36). Intersecting bodies of knowledge weave a common thread to support developing a method of communicating tacit sculptural information using haptic touch experience. Unfortunately, there exists more tele-haptics and telerobotics technology for industrial applications than artworks using the same technology. For instance, 'rapid prototyping' technology—such as 3D printers—is removing human tactile-material interaction from object making altogether. In response to the technological obstacle of expanding contemporary interactive sculpture, haptics is applied to include real-time, iterative, robotically assisted object modelling. A review of contemporary haptic technology demonstrates a gap in our understanding iii of embodied knowledge transference. A shortlist of contemporary artists and their works that address the communication of tacit-haptic experiences is also offered, highlighting the importance of exploring embodied knowledge transfer

The Evolution of Virtual Reality: A Historical Perspective

DOI: 10.17605/OSF.IO/H3BQP The Evolution of Virtual Reality: A Historical Perspective. Dr. Sivarethinamohan R, Associate Professor, Department of Professional Studies, Christ University, Bengaluru, Karnataka, India. ORCID iD: 0000-0003-1918-8931 Abstract: Virtual reality (VR) technology has progressed significantly since its inception in the 1960s. Beginning with Ivan Sutherland's invention of the first head-mounted display in the 1960s, this article provides a historical perspective on the evolution of virtual reality. The article describes significant developments in the evolution of VR technology, including the DataGlove by VPL Research and the Sega VR headset. The article also examines the technological advancements in virtual reality in the 21st century, including Palmer Luckey's creation of the Oculus Rift and its applications in healthcare, education, and entertainment. VR has enormous potential, and as technology advances, we can anticipate even more innovative applications of this technology. Keywords: Virtual Reality, VR, Historical Perspective, Evolution, Healthcare, Education, Entertainment, Immersion, Interaction. Spanish: La tecnología de realidad virtual (VR) ha avanzado significativamente desde su creación en la década de 1960. A partir de la invención del primer display montado en la cabeza por Ivan Sutherland en los años 60, este artículo ofrece una perspectiva histórica sobre la evolución de la realidad virtual. El artículo describe desarrollos significativos en la evolución de la tecnología VR, como el DataGlove de VPL Research y el casco Sega VR. También examina los avances tecnológicos en realidad virtual del siglo XXI, incluyendo la creación del Oculus Rift por Palmer Luckey y sus aplicaciones en cuidados de salud, educación y entretenimiento. La VR tiene un enorme potencial y, a medida que la tecnología avanza, podemos anticipar aún más aplicaciones innovadoras de esta tecnología. Palabras clave: Realidad Virtual, VR, Perspectiva Histórica, Evolución, Cuidado de la Salud, Educación, Entretenimiento, Inmersión, Interacción. Introduction: Since its inception in the 1960s, virtual reality (VR) technology has advanced dramatically. Ivan Sutherland invented the first head-mounted display (HMD) in 1968, but it was cumbersome and expensive. In the 1980s, the military and NASA began using virtual reality (VR) for training purposes, and VPL Research introduced DataGlove, which enabled users to interact with virtual objects using hand gestures. In the 1990s, SEGA released the Sega VR headset for home use, but technical problems plagued it, and it quickly pulled from the market. VR technology has advanced significantly in recent years. In 2010, Palmer Luckey created the Oculus Rift, the first virtual reality headset designed specifically for gaming, paving the way for the current generation of VR headsets. Several industries, such as healthcare, education, and entertainment, have implemented VR technology. VR is used in healthcare for pain management, surgical training, and rehabilitation, among other applications. In the education sector, VR is used for immersive learning experiences and simulations, while in the entertainment sector, VR is used for gaming and virtual experiences. VR's potential to revolutionise how we interact with digital content is one of its most alluring characteristics. Users can interact with digital content more naturally and intuitively than traditional interfaces such as computer monitors and touchscreens. In architecture and design, architects and designers can create immersive 3D models of their designs using virtual reality. Virtual reality improves mental health by providing a safe, regulated environment for exposure therapy and anxiety disorder treatment. Immersive and interactive learning environments can ultimately transform education. The development of virtual reality has been a fascinating journey with limitless potential. We can anticipate even more impressive VR applications as hardware and software advance. VR can transform how we interact with digital content, collaborate with others, design spaces, treat mental disorders, and learn. Early Developments of Virtual Reality: The history of virtual reality technology dates back to the 1960s. In 1968, computer scientist Ivan Sutherland developed the first head-mounted display (HMD), also known as the "Sword of Damocles." It was a significant technological advancement that allowed users to experience a basic form of virtual reality, despite the device's size and cost. Virtual reality gained popularity in the 1980s as new hardware and software were developed. The military and NASA began utilising VR for training purposes, and the technology's potential became apparent. 1985 saw the introduction of DataGlove by Jaron Lanier's company, VPL Research, which allowed users to interact with virtual objects using hand gestures. This was a significant step forward in the evolution of virtual reality. In the 1990s, virtual reality (VR) technology expanded. The Sega VR headset was released commercially by SEGA in 1991, but it was plagued by technical issues and quickly withdrawn from the market. Nevertheless, it was a significant development in the evolution of virtual reality. Virtual Boy, a portable gaming console released by Nintendo in 1995, featured a red monochrome display that created the illusion of three dimensions. It was not commercially successful, but it was an essential step in developing portable VR technology. Due to films such as The Lawnmower Man and The Matrix, the entertainment industry developed an interest in virtual reality technology in the late 1990s. This increased awareness and interest in virtual reality technology. Through their innovations and breakthroughs, the early pioneers of virtual reality technology, such as Ivan Sutherland and Jaron Lanier, paved the way for today's highly advanced and sophisticated VR technology. Advancements in the 21st Century: The history of virtual reality (VR) dates back to the 1960s when Ivan Sutherland created the first head-mounted display (HMD). Since then, virtual reality (VR) technology has rapidly advanced, and in recent years, it has been utilised extensively across numerous industries. The development of the Oculus Rift by Palmer Luckey in 2010 was a significant breakthrough that led to the current generation of virtual reality (VR) headsets. In healthcare, virtual reality is used for pain management, surgical training, and rehabilitation. In education, virtual reality is used for immersive learning experiences and simulations. The entertainment industry utilises virtual reality for gaming and virtual experiences such as virtual travel and concerts. Also, VR technology, architecture, engineering, and construction have provided clients and stakeholders with a more immersive and interactive experience. Social VR has been implemented for teamwork, socialisation, and therapy, allowing individuals with social anxiety to practise social situations in a safe setting. Virtual reality (VR) technology can be combined with other technologies, such as augmented reality (AR) and artificial intelligence (AI), to create mixed reality, enabling users to interact with virtual and real-world objects. AI can be used to create more responsive and realistic virtual environments, resulting in more individualised and adaptable learning environments. The development of virtual reality (VR) technology has spawned numerous opportunities and applications in various industries, thereby transforming how we interact with the world. As new opportunities are created, and the world continues to evolve, the future of VR technology combined with other emerging technologies will be fascinating to observe. Conclusion: Since the 1960s, virtual reality has advanced significantly. Virtual reality (VR) has become a valuable tool for various industries due to the development of new hardware and software that has enabled greater immersion and interactivity. VR has tremendous potential, and as the technology continues to advance, we will likely see even more innovative uses of this technology in the future. References: Ambrosio, A. P., & Fidalgo, M. I. R. (2020). Past, present and future of Virtual Reality: Analysis of its technological variables and definitions. Culture & History Digital Journal, 9(1), e010-e010. Anthes, C., García-Hernández, R. J., Wiedemann, M., & Kranzlmüller, D. (2016, March). State of the art of virtual reality technology. In 2016 IEEE aerospace conference (pp. 1-19). IEEE. Balzerkiewitz, H. P., & Stechert, C. (2020, May). The evolution of virtual reality towards the usage in early design phases. In Proceedings of the Design Society: DESIGN Conference (Vol. 1, p Biocca, F., & Levy, M. R. (1995). Virtual reality as a communication system. Communication in the age of virtual reality, 15-31.p. 91-100). Cambridge University Press. Coleman, J., Nduka, C. C., & Darzi, A. (1994). Virtual reality and laparoscopic surgery. Journal of British Surgery, 81(12), 1709-1711. Lawson, G., Salanitri, D., & Waterfield, B. (2016). Future directions for the development of virtual reality within an automotive manufacturer. Applied ergonomics, 53, 323-330. Mandal, S. (2013). Brief introduction of virtual reality & its challenges. International Journal of Scientific & Engineering Research, 4(4), 304-309. Standen, P. J., & Brown, D. J. (2006). Virtual reality and its role in removing the barriers that turn cognitive impairments into intellectual disability. Virtual Reality, 10, 241-252. Stone, R. J. (2001, July). Haptic feedback: A brief history from telepresence to virtual reality. In Haptic Human-Computer Interaction: First International Workshop Glasgow, UK, August 31—September 1, 2000 Proceedings (pp. 1-16). Berlin, Heidelberg: Springer Berlin Heidelberg. Schmitt, P. J., Agarwal, N., & Prestigiacomo, C. J. (2012). From planes to brains: parallels between military development of virtual reality environments and virtual neurological surgery. World neurosurgery, 78(3-4), 214-219. Yoh, M. S. (2001, October). The reality of virtual reality. In Proceedings seventh international conference on virtual systems and multimedia (pp. 666-674). IEEE. Ramsey, E. (2017). Virtual Wolverhampton: Recreating the historic city in virtual reality. ArchNet-IJAR: International Journal of Architectural Research, 11(3), 42-57. Slater, M. (2017). Immersion and the illusion of presence in virtual reality. British Journal of Psychology, 108(3), 1-18. Sutherland, I. E. (1968). A head-mounted three-dimensional display. Proceedings of the December 9-11, 1968, fall joint computer conference, part I, 757-764