Haptic Media Scenes

The aim of this thesis is to apply new media phenomenological and enactive embodied cognition approaches to explain the role of haptic sensitivity and communication in personal computer environments for productivity. Prior theory has given little attention to the role of haptic senses in influencing cognitive processes, and do not frame the richness of haptic communication in interaction design—as haptic interactivity in HCI has historically tended to be designed and analyzed from a perspective on communication as transmissions, sending and receiving haptic signals. The haptic sense may not only mediate contact confirmation and affirmation, but also rich semiotic and affective messages—yet this is a strong contrast between this inherent ability of haptic perception, and current day support for such haptic communication interfaces. I therefore ask: How do the haptic senses (touch and proprioception) impact our cognitive faculty when mediated through digital and sensor technologies? How may these insights be employed in interface design to facilitate rich haptic communication? To answer these questions, I use theoretical close readings that embrace two research fields, new media phenomenology and enactive embodied cognition. The theoretical discussion is supported by neuroscientific evidence, and tested empirically through case studies centered on digital art. I use these insights to develop the concept of the haptic figura, an analytical tool to frame the communicative qualities of haptic media. The concept gauges rich machine- mediated haptic interactivity and communication in systems with a material solution supporting active haptic perception, and the mediation of semiotic and affective messages that are understood and felt. As such the concept may function as a design tool for developers, but also for media critics evaluating haptic media. The tool is used to frame a discussion on opportunities and shortcomings of haptic interfaces for productivity, differentiating between media systems for the hand and the full body. The significance of this investigation is demonstrating that haptic communication is an underutilized element in personal computer environments for productivity and providing an analytical framework for a more nuanced understanding of haptic communication as enabling the mediation of a range of semiotic and affective messages, beyond notification and confirmation interactivity

Perceiving the Body: On the Bodily Senses and the Nature of Perception

Visual perception dominates the philosophical study of perception. This dissertation shows that a complete understanding of the nature of perception as a general category requires a consideration of the nature of the bodily modalities such as interoception, proprioception, pain, touch, and thermoception. By understanding these modalities, we come closer to understanding the nature of perception (what it is, how it works, and what systems it encompasses). While non-visual modalities have been gaining more attention in philosophy, much of this work looks to philosophical issues particular to these modalities—not necessarily how they relate to questions about the nature of perception in general. Thus, despite increasing work on non-visual modalities, visual perception still maintains as the dominant model of what perception—in general—is like, for visual perception is so commonly and unquestioningly used as a model for perception as a phenomenon. The overarching strategy of this dissertation is to analyze the similarities and differences between the bodily senses and uncontroversially perceptual faculties (such as vision and audition). Then, it looks at what these differences and similarities—the relationships between the various modalities—mean for understanding the nature of perception. It shows that claims about visual perception cannot and should not be uncritically extended to perception in general if perception in general includes the bodily modalities, for the bodily modalities do not necessarily work in the exact same way as vision. It also shows that there are good reasons for thinking that the bodily modalities belong in the perceptual category and are thus relevant to understanding perceptual as a general phenomenon. However, it does this in slightly different ways in each chapter, each with a different focus

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

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 Translocal Event and the Polyrhythmic Diagram

This thesis identifies and analyses the key creative protocols in translocal performance practice, and ends with suggestions for new forms of transversal live and mediated performance practice, informed by theory. It argues that ontologies of emergence in dynamic systems nourish contemporary practice in the digital arts. Feedback in self-organised, recursive systems and organisms elicit change, and change transforms. The arguments trace concepts from chaos and complexity theory to virtual multiplicity, relationality, intuition and individuation (in the work of Bergson, Deleuze, Guattari, Simondon, Massumi, and other process theorists). It then examines the intersection of methodologies in philosophy, science and art and the radical contingencies implicit in the technicity of real-time, collaborative composition. Simultaneous forces or tendencies such as perception/memory, content/ expression and instinct/intellect produce composites (experience, meaning, and intuition- respectively) that affect the sensation of interplay. The translocal event is itself a diagram - an interstice between the forces of the local and the global, between the tendencies of the individual and the collective. The translocal is a point of reference for exploring the distribution of affect, parameters of control and emergent aesthetics. Translocal interplay, enabled by digital technologies and network protocols, is ontogenetic and autopoietic; diagrammatic and synaesthetic; intuitive and transductive. KeyWorx is a software application developed for realtime, distributed, multimodal media processing. As a technological tool created by artists, KeyWorx supports this intuitive type of creative experience: a real-time, translocal “jamming” that transduces the lived experience of a “biogram,” a synaesthetic hinge-dimension. The emerging aesthetics are processual – intuitive, diagrammatic and transversal

True as Touch? : An Investigation in Tactile Information Processing

Smeets, J.B.J. [Promotor]Brenner, E. [Copromotor

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

A Framework of Distinct Musical Chills: Theoretical, Causal, and Conceptual Evidence

The phenomenon of musical chills has attracted extensive attention in previous music and emotion research, correlating the experience with musical structure, psychoacoustics parameters, individual differences in listeners, and the listening situation. However, there are three crucial limitations in the literature: 1) The emotional characteristics of musical chills have not been explored, and are poorly understood; 2) musical chills have never been causally manipulated, and no theories have been tested; and 3) it is unclear whether chills are a unified psychological construct, or a set of distinct experiences, distinguished at the levels of subjective feeling, psychophysiological response, individual differences, and underlying psychological induction mechanisms. Across five studies, ranging from qualitative surveys to experimental manipulations of musical chills, these limitations were addressed in the current thesis, with results suggesting firstly that musical chills are often mixed emotional experiences, described as moving, bittersweet and intense; secondly, that musical chills can be manipulated, and corresponding theories tested, with a novel experimental paradigm, by removing key sections in a piece or changing psychoacoustic parameters such as loudness and brightness; finally, that there are likely distinct types of chills experiences, which across multimedia are linked to both the affective dimension of valence and individual differences such as trait empathy, and with music through mechanisms of fear and vigilance on the one hand, and social bonding on the other. The studies and results are discussed in terms of two categories of musical chills experiences, culminating in a preliminary Distinct Musical Chills Framework, producing a series of testable hypotheses for future empirical work, and a comprehensive research agenda for the field moving forward