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

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

Haptics: Science, Technology, Applications

This open access book constitutes the proceedings of the 13th International Conference on Human Haptic Sensing and Touch Enabled Computer Applications, EuroHaptics 2022, held in Hamburg, Germany, in May 2022. The 36 regular papers included in this book were carefully reviewed and selected from 129 submissions. They were organized in topical sections as follows: haptic science; haptic technology; and haptic applications

The human "feel" of touch contributes to its perceived pleasantness.

This study explored whether a human-like feel of touch biases perceived pleasantness and whether such a bias depends on top-down cognitive and/or bottom-up sensory processes. In 2 experiments, 11 materials were stroked across the forearm at different velocities (bottom-up) and participants rated tactile pleasantness and humanness. Additionally, in Experiment 1, participants identified the materials (top-down), whereas in Experiment 2, they rated each material with respect to its somatosensory properties (bottom-up). Stroking felt most pleasant at velocities optimal for the stimulation of CT-afferents, a mechanosensory nerve hypothesized to underpin affective touch. A corresponding effect on perceived humanness was significant in Experiment 1 and marginal in Experiment 2. Whereas material identification was unrelated to both pleasantness and humanness, we observed a robust relation with the somatosensory properties. Materials perceived as smooth, slippery, and soft were also pleasant. A corresponding effect on perceived humanness was significant for the first somatosensory property only. Humanness positively predicted pleasantness and neither top-down nor bottom-up factors altered this relationship. Thus, perceiving gentle touch as human appears to promote pleasure possibly because this serves to reinforce interpersonal contact as a means for creating and maintaining social bonds. (PsycINFO Database Record (c) 2019 APA, all rights reserved)

Skin Stories: Charting and Mapping the Skin. Research using analogies of human skin tissue in relation to my textile practice.

The practice based research SKIN STORIES:: CHARTING AND MAPPING THE SKIN deals with issues across the fields of art, design, technology, biology and material science. In an attempt to bridge the gap between aesthetics and technology by investigating the potential of new and industrial materials, the epidermis is used as a metaphor for creating innovative textile surfaces which behave, look or feel like skin. As a result of theoretical enquiry and practical experiments, interactive design solutions have been developed to a prototype stage for possible application in domestic environments and public spaces as well as for integration into body related design concepts. The development of such functional and interactive textile membranes will hopefully enable individuals to experience a polysensual and responsive environment and it is this aspect which is considered to be an original contribution to knowledge in the textiles field. The aim of this written thesis is not only to illustrate the journeys and investigations made along the way and to demonstrate the outcome of the research, but also to situate the practical work in its cultural, critical and technological context. This thesis is accompanied by an interactive CD-ROM which is a visual representation of my 'research map' and holds a record of the practical work carried out during the research project. The ideas of the project SKIN STORIES:: CHARTING AND MAPPING THE SKIN have been developed and tested during a 3-year research programme towards a Ph. D. at The London College of Fashion, University of the Arts London

A Recipe for Shocking the Urban Body

This is not a recipe for heterosex, nor making love, nor a recipe for heteronorms to be consumed at a table set for two with neatly folded napkins. This is a recipe that does not include a vintage Beaujolais nor a pricey Champagne; there will be no smoked salmon (unless it is smoked too much) and no steak, unless it is of an animal you have not yet heard of. There will be no butternut squash, nor precisely laid out vegetables upon your plate. In fact, there may be no plate. It is unlikely that there will be courses of any kind, and items will be needed you consider disgusting (but they might grow on you) or that may be in short supply. Traversing offal, extraordinary almost rotten-tasting cloudy natural wines, bodily fluids, urban grime, streets, tube stations, smells, sounds, movements and urban bodies of all kinds. This is a recipe like no other, which tries to capture how the consumption of food and wine is the consumption of far more than what appears before us on the table, and far more than what takes place in our mouths. This recipe is a list, a journey, and a memory and record of the confluence of unexpected ingredients that can join human and nonhuman bodies in an unforgettable orgy of urban de-categorisation: the best fucking you ever tasted

An investigation into achieving visual narration using photochromic dyes on a textile substrate

Photochromic dyes have the unique property of being colourless until exposed to ultraviolet (UV) light. Their application within design has thus far been basic, predominantly developing the medium as it is exposed to natural UV light. Therefore, by exploring the dyes’ colours and movement when printed on a textile substrate and developed by artificial UV light, this thesis investigates their ability to create a form of visual narrative. Using the dyes’ colours to evoke a change in emotion set the parameters for answering this aim. Testing the interactions of the dyes’ colours in sunlight, on a range of substrates and in varied combinations, provided initial knowledge of how they perform in this medium. Whilst the stylistic techniques of French Impressionist films provided configurations with which to explore the movement of the dyes, research on colour showed the diversity of ways in which it is able to be used to express emotion. Two custom built UV LED arrays, manually operated then software driven, enabled the dyes’ development times and intervals to be controlled. Design questions were then answered by combining these factors with the dyes’ fading speeds. Storyboarding photographs became an important part of the analysis and reflection process whilst filming also assisted in observing their transient nature. This work revealed that a new methodology, that was based on placement and sequencing, would be necessary when designing with dyes that move. Design exploration illustrated how using two dyes, from opposite ends of both the fading and emotional spectrum, mixed by printing, could create a colour change, as they faded, when they were developed in a linear sequence. Subsequently, by combining abstract representational imagery with variations on the stylistic film techniques, to alternately develop two dyes, it was illustrated how, by varying their development intervals, these dyes have the potential to create a visual narrative that evokes a change of emotion in the viewer

Material perception and action : The role of material properties in object handling

This dissertation is about visual perception of material properties and their role in preparation for object handling. Usually before an object is touched or picked-up we estimate its size and shape based on visual features to plan the grip size of our hand. After we have touched the object, the grip size is adjusted according to the provided haptic feedback and the object is handled safely. Similarly, we anticipate the required grip force to handle the object without slippage, based on its visual features and prior experience with similar objects. Previous studies on object handling have mostly examined object characteristics that are typical for object recognition, e.g., size, shape, weight, but in the recent years there has been a growing interest in object characteristics that are more typical to the type of material the object is made from. That said, in a series of studies we investigated the role of perceived material properties in decision-making and object handling, in which both digitally rendered materials and real objects made of different types of materials were presented to human subjects and a humanoid robot. Paper I is a reach-to-grasp study where human subjects were examined using motion capture technology. In this study, participants grasped and lifted paper cups that varied in appearance (i.e., matte vs. glossy) and weight. Here we were interested in both the temporal and spatial components of prehension to examine the role of material properties in grip preparation, and how visual features contribute to inferred hardness before haptic feedback has become available. We found the temporal and spatial components were not exclusively governed by the expected weight of the paper cups, instead glossiness and expected hardness has a significant role as well. In paper II, which is a follow-up on Paper I, we investigated the grip force component of prehension using the same experimental stimuli as used in paper I. In a similar experimental set up, using force sensors we examined the early grip force magnitudes applied by human subjects when grasping and lifting the same paper cups as used in Paper I. Here we found that early grip force scaling was not only guided by the object weight, but the visual characteristics of the material (i.e., matte vs. glossy) had a role as well. Moreover, the results suggest that grip force scaling during the initial object lifts is guided by expected hardness that is to some extend based on visual material properties. Paper III is a visual judgment task where psychophysical measurements were used to examine how the material properties, roughness and glossiness, influence perceived bounce height and consequently perceived hardness. In a paired-comparison task, human subjects observed a bouncing ball bounce on various surface planes and judged their bounce height. Here we investigated, what combination of surface properties, i.e., roughness or glossiness, makes a surface plane to be perceived bounceable. The results demonstrate that surface planes with rough properties are believed to afford higher bounce heights for the bouncing ball, compared to surface planes with smooth properties. Interestingly, adding shiny properties to the rough and smooth surface planes, reduced the judged difference, as if surface planes with gloss are believed to afford higher bounce heights irrespective of how smooth or rough the surface plane is beneath. This suggests that perceived bounce height involves not only the physical elements of the bounce height, but also the visual characteristics of the material properties of the surface planes the ball bounces on. In paper IV we investigated the development of material knowledge using a robotic system. A humanoid robot explored real objects made of different types of materials, using both camera and haptic systems. The objects varied in visual appearances (e.g., texture, color, shape, size), weight, and hardness, and in two experiments, the robot picked up and placed the experimental objects several times using its arm. Here we used the haptic signals from the servos controlling the arm and the shoulder of the robot, to obtain measurements of the weight and hardness of the objects, and the camera system to collect data on the visual features of the objects. After the robot had repeatedly explored the objects, an associative learning model was created based on the training data to demonstrate how the robotic system could produce multi-modal mapping between the visual and haptic features of the objects. In sum, in this thesis we show that visual material properties and prior knowledge of how materials look like and behave like has a significant role in action planning

Seamless knitted sports bra design: A responsive system design exploration

ABSTRACT The transition of sports bras’ uses, from an active lifestyle to resting activities, requires dynamic and adaptable comfort properties of the design, as well as adequate breast support, fit, and comfort. Thus, the two-fold purpose of this study was to: (a) analyze the use of current materials and processes in the product development process of seamless sports bras, via industry interview and observation, and (b) propose a design solution for a seamless sports bra that offers variable breast support during running versus resting activities. Using a case study approach, an in-depth interview with a Santoni seamless knitting technician provided data that led to mapping out the design and product development processes used for prototyping seamless sports bras. A seamless business model for a sports bra was created, and relationships among the over-arching themes of planning, marketing, product development, innovation, and production, which emerged from the grounded theory analysis, were discussed. Moreover, a detailed Product Development framework and a Tech Pack model were created and used to communicate the new design for a responsive seamless sports bra. Interactions between design, prototyping and functionality and how these themes relate to the components of the tech pack were discussed. At the materials level, a biomimetic system framework was used to identify solutions to responsive interactions within wool/Nylon/spandex blended yarns and various knitting structures when actuated by moisture. Twenty pattern designs were knitted on a Santoni circular knitting machine, using two different yarn combinations: (a) wool/spandex, and (b) wool/nylon/ spandex. Physical properties of the knit swatches were documented, as well as their thickness when dry versus three different moisture activation situations: (a) immediately after wetting, (b) after 30 minutes of air-drying, and (c) after 60 minutes of air-drying. Results showed that the Santoni circular knitting technology has capabilities to create a variety of texturally knit fabric designs that have a wide range of thicknesses, densities, and moisture responsiveness properties. Selections of knit patterns were made based on the textile testing results and used to design a responsive sports bra that incorporated female sweat maps and sports bra user needs. Sustainability considerations regarding the wet processing of the new responsive design were implemented, and the bra samples were not dyed, but only cold-washed and tumble-dried at low temperature. Fifteen prototypes were developed via a Santoni circular seamless knitting machines and tested using human subjects and 3D body scanning technology. A convenience sample of fifteen semi-athlete female college students wore the new sports bra prototypes during three different moisture conditions: (a) before a run (dry), (b) after 30 minutes run on a treadmill (wet), and (c) after resting 30 minutes (starting to dry out). 3D body scans were collected in fully inhaled, as well as relaxed respiratory states after each condition. Questionnaires were used to evaluate comfort and responsiveness of the new design. The results revealed that the new responsive sports bra offers compression during the dry conditions, breathability and some level of breast support during running, and moisture management during the resting stage, all while offering high overall comfort and fabric softness. However, the length of the bra straps needs to be shortened, and the breast support during running needs improvement, therefore further design iterations are needed. The proposed integrative approach to the sports bra design offers a new framing for the systematic design process of a sports bra as a functional design garment and fills knowledge gaps within the seamless knitting process using performance wool blend yarns. The new biomimetic-inspired sports bra solution has a potential for commercial applications that can offer women a responsive, adaptable sports bra, to encourage healthier lifestyles, as well as to accommodate for the athleisure trend

Forms and techniques of modern painting

In this thesis, I have made an attempt to discuss and comment on oil painting from the "angle of concepts, forms, both traditional as well as more recent techniques of modern paintin