42 research outputs found
Corseto: A Kinesthetic Garment for Designing, Composing for, and Experiencing an Intersubjective Haptic Voice
We present a novel intercorporeal experience - an intersubjective haptic voice. Through an autobiographical design inquiry, based on singing techniques from the classical opera tradition, we created Corsetto, a kinesthetic garment for transferring somatic reminiscents of vocal experience from an expert singer to a listener. We then composed haptic gestures enacted in the Corsetto, emulating upper-body movements of the live singer performing a piece by Morton Feldman named Three Voices. The gestures in the Corsetto added a haptics-based \u27fourth voice\u27 to the immersive opera performance. Finally, we invited audiences who were asked to wear Corsetto during live performances. Afterwards they engaged in micro-phenomenological interviews. The analysis revealed how the Corsetto managed to bridge inner and outer bodily sensations, creating a feeling of a shared intercorporeal experience, dissolving boundaries between listener, singer and performance. We propose that \u27intersubjective haptics\u27 can be a generative medium not only for singing performances, but other possible intersubjective experiences
Augmented Reality for Restoration/Reconstruction of Artefacts with Artistic or Historical Value
The artistic or historical value of a structure, such as a monument, a mosaic, a painting or, generally speaking, an artefact, arises from the novelty and the development it represents in a certain field and in a certain time of the human activity. The more faithfully the structure preserves its original status, the greater its artistic and historical value is. For this reason it is fundamental to preserve its original condition, maintaining it as genuine as possible over the time.
Nevertheless the preservation of a structure cannot be always possible (for traumatic events as wars can occur), or has not always been realized, simply for negligence, incompetence, or even guilty unwillingness. So, unfortunately, nowadays the status of a not irrelevant number of such structures can range from bad to even catastrophic.
In such a frame the current technology furnishes a fundamental help for reconstruction/restoration purposes, so to bring back a structure to its original historical value and condition. Among the modern facilities, new possibilities arise from the Augmented Reality (AR) tools, which combine the virtual reality (VR) settings with real physical materials and instruments.
The idea is to realize a virtual reconstruction/restoration before materially acting on the structure itself. In this way main advantages are obtained among which: the manpower and machine power are utilized only in the last phase of the reconstruction; potential damages/abrasions of some parts of the structure are avoided during the cataloguing phase; it is possible to precisely define the forms and dimensions of the eventually missing pieces, etc.
Actually the virtual reconstruction/restoration can be even improved taking advantages of the AR, which furnish lots of added informative parameters, which can be even fundamental under specific circumstances. So we want here detail the AR application to restore and reconstruct the structures with artistic and/or historical valu
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Touching is believing: creating illusions and feeling of embodiment with mid-air haptic technology
Over the last two decades, the sense of touch has received new attention from the scientific community.Several haptic devices have been developed to address the complexity of the sense of touch, the latest addition being mid-air (contactless) haptic technology. An interesting series of previous research has suggested an easier way to tackle the complexity of designing convincing tactile sensations by exploiting tactile illusions. Tactile illusions rely on perceptual shortcuts based on the psychophysics of the tactile receptors.
Currently, studies exploring the perceptual space of mid-air haptics and its applicability in the tactile illusions field are still limited in number. This thesis aims to contribute to the field of Human-Computer Interaction (HCI) by investigating the perceptual design space of ultrasonic mid-air haptics technology.
Specifically, in a first set of three studies, we investigate the absolute thresholds (minimal amount of a property of astimulus that a user can detect) for control points (CP) at different frequencies on the hand and arm (Study 1). Then we investigate the optimal sampling rate needed to drive the device in an optimal fashion and its relationship with shape size (Study 2). Next, we apply a new technique to increase users’ performance in a shape discrimination task (Study 3).
In Study 4, we start the exploration of a tactile illusion of movement using contact touch and later, we apply a similar procedure to investigate the feasibility of creating a tactile illusion of movement between the two non-interconnected hands by using mid-air touch (Study 5).
Finally, in Study 6, we explore our sense of touch in VR, while providing an illusion of rain drops through mid-air haptics, to recreate a virtual hand illusion (VHI) to explore the boundaries of our sense of embodiment.
Therefore, the contribution of this work is threefold: a) we contribute by adding new knowledge on the psychophysical space for mid-air haptics, b) we test the potential to create realistic tactile sensations by exploiting tactile illusions with mid-air haptic technology, and c) we demonstrate how tactile illusions mediated by mid-air haptics can convey a sense of embodiment in VR environments
Advancing proxy-based haptic feedback in virtual reality
This thesis advances haptic feedback for Virtual Reality (VR). Our work is guided by Sutherland's 1965 vision of the ultimate display, which calls for VR systems to control the existence of matter. To push towards this vision, we build upon proxy-based haptic feedback, a technique characterized by the use of passive tangible props. The goal of this thesis is to tackle the central drawback of this approach, namely, its inflexibility, which yet hinders it to fulfill the vision of the ultimate display. Guided by four research questions, we first showcase the applicability of proxy-based VR haptics by employing the technique for data exploration. We then extend the VR system's control over users' haptic impressions in three steps. First, we contribute the class of Dynamic Passive Haptic Feedback (DPHF) alongside two novel concepts for conveying kinesthetic properties, like virtual weight and shape, through weight-shifting and drag-changing proxies. Conceptually orthogonal to this, we study how visual-haptic illusions can be leveraged to unnoticeably redirect the user's hand when reaching towards props. Here, we contribute a novel perception-inspired algorithm for Body Warping-based Hand Redirection (HR), an open-source framework for HR, and psychophysical insights. The thesis concludes by proving that the combination of DPHF and HR can outperform the individual techniques in terms of the achievable flexibility of the proxy-based haptic feedback.Diese Arbeit widmet sich haptischem Feedback für Virtual Reality (VR) und ist inspiriert von Sutherlands Vision des ultimativen Displays, welche VR-Systemen die Fähigkeit zuschreibt, Materie kontrollieren zu können. Um dieser Vision näher zu kommen, baut die Arbeit auf dem Konzept proxy-basierter Haptik auf, bei der haptische Eindrücke durch anfassbare Requisiten vermittelt werden. Ziel ist es, diesem Ansatz die für die Realisierung eines ultimativen Displays nötige Flexibilität zu verleihen. Dazu bearbeiten wir vier Forschungsfragen und zeigen zunächst die Anwendbarkeit proxy-basierter Haptik durch den Einsatz der Technik zur Datenexploration. Anschließend untersuchen wir in drei Schritten, wie VR-Systeme mehr Kontrolle über haptische Eindrücke von Nutzern erhalten können. Hierzu stellen wir Dynamic Passive Haptic Feedback (DPHF) vor, sowie zwei Verfahren, die kinästhetische Eindrücke wie virtuelles Gewicht und Form durch Gewichtsverlagerung und Veränderung des Luftwiderstandes von Requisiten vermitteln. Zusätzlich untersuchen wir, wie visuell-haptische Illusionen die Hand des Nutzers beim Greifen nach Requisiten unbemerkt umlenken können. Dabei stellen wir einen neuen Algorithmus zur Body Warping-based Hand Redirection (HR), ein Open-Source-Framework, sowie psychophysische Erkenntnisse vor. Abschließend zeigen wir, dass die Kombination von DPHF und HR proxy-basierte Haptik noch flexibler machen kann, als es die einzelnen Techniken alleine können
Embodied geosensification-models, taxonomies and applications for engaging the body in immersive analytics of geospatial data
This thesis examines how we can use immersive multisensory displays and body-focused interaction technologies to analyze geospatial data. It merges relevant aspects from an array of interdisciplinary research areas, from cartography to the cognitive sciences, to form three taxonomies that describe the senses, data representations, and interactions made possible by these technologies. These taxonomies are then integrated into an overarching design model for such "Embodied Geosensifications". This model provides guidance for system specification and is validated with practical examples
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Ultrasonic mid-air haptic technology in context of science communication
This dissertation charts opportunities and challenges of engaging people with learning about science through the use of mid-air haptic technology. To that end, research has been carried out at the intersection of three multidisciplinary fields: Science Communication, Haptics, and Human-Computer Interaction.
For science communication to be effective, different tools are required for different audiences. For example, when a child pours cold milk into hot tea and sips a warm beverage, we can raise awareness of the haptic experience; triggering interest and facilitating learning about thermal equilibrium. Not every scientific concept may be explained through changing temperature, and not everybody likes tea, but the principle of haptic experience facilitated public engagement with science remains a valid basis to examine.
Science communicators seek new technological solutions and innovative modalities of communication, some of which include haptic technology and touch interaction. Ultrasonic mid-air haptic technology is a novel tool, which enables the creation of programable, invisible, cutaneous tactile sensations on an airborne interface between humans and the digital world. Mid-air haptic sensations may bring many benefits when used in science communication, but these have not yet been systematically studied
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Virtual corporeality: narrative and spectacle in Hollywood VR cinema
This thesis is an inquiry into the emergence, development and eventual transmutation of the 'virtual reality' (VR) subgenre. I critically intervene in discourse on cinema, digital media, phenomenology and science fiction (SF) to explore how these films refract and enact Hollywood cinema‘s engagement with digital media and imaging technologies. Given that these films are about bodily immersive mediated experiences, I argue, their reflexive displays of special effects technologies are far from anti- or contra-narrative, as certain analyses imply.
My emphasis on the imbrication of narrative and spectacle motivates a critical questioning of further, often interrelated and mutually sustaining dichotomies between body and mind, cognition and affect, cinema and digital media, real and virtual, reflection and immersion. Via close textual analysis with a phenomenological leaning, I explore how these films variously disrupt such binaries. As both old and new media produce and address differently mediated publics, they adopt, adapt and assimilate the narrative-aesthetic modalities of other (digital) media, negotiating their impacts upon our phenomenological relations to the world and to cinema. Through reflexive allusions to their increasingly mediated extradiegetic contexts, they function to uphold cinema‘s ability both to present innovative technological spectacle and to represent contemporary experiential realities.
I explore how earlier VR films Tron and The Lawnmower Man aesthetically and conceptually 'map' VR, and how Strange Days and The Matrix ambivalently explore the implications of intensified and widespread virtual experience in radically different ways. I characterise Avatar and Source Code as 'Post-VR' cinema, in which formerly upheld dichotomies – particularly between 'real' and 'virtual' – prove untenably anachronistic. I ultimately maintain the value of an approach to popular cinema which apprehends genre, context and convergence, while advocating sustained and detailed close analysis as a means of grasping cinema‘s narrative-aesthetic functions in the digital age
Actor & Avatar: A Scientific and Artistic Catalog
What kind of relationship do we have with artificial beings (avatars, puppets, robots, etc.)? What does it mean to mirror ourselves in them, to perform them or to play trial identity games with them? Actor & Avatar addresses these questions from artistic and scholarly angles. Contributions on the making of "technical others" and philosophical reflections on artificial alterity are flanked by neuroscientific studies on different ways of perceiving living persons and artificial counterparts. The contributors have achieved a successful artistic-scientific collaboration with extensive visual material