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

Enhancing Situational Awareness Through Haptics Interaction In Virtual Environment Training Systmes

Virtual environment (VE) technology offers a viable training option for developing knowledge, skills and attitudes (KSA) within domains that have limited live training opportunities due to personnel safety and cost (e.g., live fire exercises). However, to ensure these VE training systems provide effective training and transfer, designers of such systems must ensure that training goals and objectives are clearly defined and VEs are designed to support development of KSAs required. Perhaps the greatest benefit of VE training is its ability to provide a multimodal training experience, where trainees can see, hear and feel their surrounding environment, thus engaging them in training scenarios to further their expertise. This work focused on enhancing situation awareness (SA) within a training VE through appropriate use of multimodal cues. The Multimodal Optimization of Situation Awareness (MOSA) model was developed to identify theoretical benefits of various environmental and individual multimodal cues on SA components. Specific focus was on benefits associated with adding cues that activated the haptic system (i.e., kinesthetic/cutaneous sensory systems) or vestibular system in a VE. An empirical study was completed to evaluate the effectiveness of adding two independent spatialized tactile cues to a Military Operations on Urbanized Terrain (MOUT) VE training system, and how head tracking (i.e., addition of rotational vestibular cues) impacted spatial awareness and performance when tactile cues were added during training. Results showed tactile cues enhanced spatial awareness and performance during both repeated training and within a transfer environment, yet there were costs associated with including two cues together during training, as each cue focused attention on a different aspect of the global task. In addition, the results suggest that spatial awareness benefits from a single point indicator (i.e., spatialized tactile cues) may be impacted by interaction mode, as performance benefits were seen when tactile cues were paired with head tracking. Future research should further examine theoretical benefits outlined in the MOSA model, and further validate that benefits can be realized through appropriate activation of multimodal cues for targeted training objectives during training, near transfer and far transfer (i.e., real world performance)

Musical Haptics

Haptic Musical Instruments; Haptic Psychophysics; Interface Design and Evaluation; User Experience; Musical Performanc

Musical Haptics

Haptic Musical Instruments; Haptic Psychophysics; Interface Design and Evaluation; User Experience; Musical Performanc

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

Tailoring Interaction. Sensing Social Signals with Textiles.

Nonverbal behaviour is an important part of conversation and can reveal much about the nature of an interaction. It includes phenomena ranging from large-scale posture shifts to small scale nods. Capturing these often spontaneous phenomena requires unobtrusive sensing techniques that do not interfere with the interaction. We propose an underexploited sensing modality for sensing nonverbal behaviours: textiles. As a material in close contact with the body, they provide ubiquitous, large surfaces that make them a suitable soft interface. Although the literature on nonverbal communication focuses on upper body movements such as gestures, observations of multi-party, seated conversations suggest that sitting postures, leg and foot movements are also systematically related to patterns of social interaction. This thesis addressees the following questions: Can the textiles surrounding us measure social engagement? Can they tell who is speaking, and who, if anyone, is listening? Furthermore, how should wearable textile sensing systems be designed and what behavioural signals could textiles reveal? To address these questions, we have designed and manufactured bespoke chairs and trousers with integrated textile pressure sensors, that are introduced here. The designs are evaluated in three user studies that produce multi-modal datasets for the exploration of fine-grained interactional signals. Two approaches to using these bespoke textile sensors are explored. First, hand crafted sensor patches in chair covers serve to distinguish speakers and listeners. Second, a pressure sensitive matrix in custom-made smart trousers is developed to detect static sitting postures, dynamic bodily movement, as well as basic conversational states. Statistical analyses, machine learning approaches, and ethnographic methods show that by moni- toring patterns of pressure change alone it is possible to not only classify postures with high accuracy, but also to identify a wide range of behaviours reliably in individuals and groups. These findings es- tablish textiles as a novel, wearable sensing system for applications in social sciences, and contribute towards a better understanding of nonverbal communication, especially the significance of posture shifts when seated. If chairs know who is speaking, if our trousers can capture our social engagement, what role can smart textiles have in the future of human interaction? How can we build new ways to map social ecologies and tailor interactions

Coaching Imagery to Athletes with Aphantasia

We administered the Plymouth Sensory Imagery Questionnaire (Psi-Q) which tests multi-sensory imagery, to athletes (n=329) from 9 different sports to locate poor/aphantasic (baseline scores <4.2/10) imagers with the aim to subsequently enhance imagery ability. The low imagery sample (n=27) were randomly split into two groups who received the intervention: Functional Imagery Training (FIT), either immediately, or delayed by one month at which point the delayed group were tested again on the Psi-Q. All participants were tested after FIT delivery and six months post intervention. The delayed group showed no significant change between baseline and the start of FIT delivery but both groups imagery score improved significantly (p=0.001) after the intervention which was maintained six months post intervention. This indicates that imagery can be trained, with those who identify as having aphantasia (although one participant did not improve on visual scores), and improvements maintained in poor imagers. Follow up interviews (n=22) on sporting application revealed that the majority now use imagery daily on process goals. Recommendations are given for ways to assess and train imagery in an applied sport setting

NON-VERBAL COMMUNICATION WITH PHYSIOLOGICAL SENSORS. THE AESTHETIC DOMAIN OF WEARABLES AND NEURAL NETWORKS

Historically, communication implies the transfer of information between bodies, yet this phenomenon is constantly adapting to new technological and cultural standards. In a digital context, it’s commonplace to envision systems that revolve around verbal modalities. However, behavioural analysis grounded in psychology research calls attention to the emotional information disclosed by non-verbal social cues, in particular, actions that are involuntary. This notion has circulated heavily into various interdisciplinary computing research fields, from which multiple studies have arisen, correlating non-verbal activity to socio-affective inferences. These are often derived from some form of motion capture and other wearable sensors, measuring the ‘invisible’ bioelectrical changes that occur from inside the body. This thesis proposes a motivation and methodology for using physiological sensory data as an expressive resource for technology-mediated interactions. Initialised from a thorough discussion on state-of-the-art technologies and established design principles regarding this topic, then applied to a novel approach alongside a selection of practice works to compliment this. We advocate for aesthetic experience, experimenting with abstract representations. Atypically from prevailing Affective Computing systems, the intention is not to infer or classify emotion but rather to create new opportunities for rich gestural exchange, unconfined to the verbal domain. Given the preliminary proposition of non-representation, we justify a correspondence with modern Machine Learning and multimedia interaction strategies, applying an iterative, human-centred approach to improve personalisation without the compromising emotional potential of bodily gesture. Where related studies in the past have successfully provoked strong design concepts through innovative fabrications, these are typically limited to simple linear, one-to-one mappings and often neglect multi-user environments; we foresee a vast potential. In our use cases, we adopt neural network architectures to generate highly granular biofeedback from low-dimensional input data. We present the following proof-of-concepts: Breathing Correspondence, a wearable biofeedback system inspired by Somaesthetic design principles; Latent Steps, a real-time auto-encoder to represent bodily experiences from sensor data, designed for dance performance; and Anti-Social Distancing Ensemble, an installation for public space interventions, analysing physical distance to generate a collective soundscape. Key findings are extracted from the individual reports to formulate an extensive technical and theoretical framework around this topic. The projects first aim to embrace some alternative perspectives already established within Affective Computing research. From here, these concepts evolve deeper, bridging theories from contemporary creative and technical practices with the advancement of biomedical technologies.Historicamente, os processos de comunicação implicam a transferência de informação entre organismos, mas este fenómeno está constantemente a adaptar-se a novos padrões tecnológicos e culturais. Num contexto digital, é comum encontrar sistemas que giram em torno de modalidades verbais. Contudo, a análise comportamental fundamentada na investigação psicológica chama a atenção para a informação emocional revelada por sinais sociais não verbais, em particular, acções que são involuntárias. Esta noção circulou fortemente em vários campos interdisciplinares de investigação na área das ciências da computação, dos quais surgiram múltiplos estudos, correlacionando a actividade nãoverbal com inferências sócio-afectivas. Estes são frequentemente derivados de alguma forma de captura de movimento e sensores “wearable”, medindo as alterações bioeléctricas “invisíveis” que ocorrem no interior do corpo. Nesta tese, propomos uma motivação e metodologia para a utilização de dados sensoriais fisiológicos como um recurso expressivo para interacções mediadas pela tecnologia. Iniciada a partir de uma discussão aprofundada sobre tecnologias de ponta e princípios de concepção estabelecidos relativamente a este tópico, depois aplicada a uma nova abordagem, juntamente com uma selecção de trabalhos práticos, para complementar esta. Defendemos a experiência estética, experimentando com representações abstractas. Contrariamente aos sistemas de Computação Afectiva predominantes, a intenção não é inferir ou classificar a emoção, mas sim criar novas oportunidades para uma rica troca gestual, não confinada ao domínio verbal. Dada a proposta preliminar de não representação, justificamos uma correspondência com estratégias modernas de Machine Learning e interacção multimédia, aplicando uma abordagem iterativa e centrada no ser humano para melhorar a personalização sem o potencial emocional comprometedor do gesto corporal. Nos casos em que estudos anteriores demonstraram com sucesso conceitos de design fortes através de fabricações inovadoras, estes limitam-se tipicamente a simples mapeamentos lineares, um-para-um, e muitas vezes negligenciam ambientes multi-utilizadores; com este trabalho, prevemos um potencial alargado. Nos nossos casos de utilização, adoptamos arquitecturas de redes neurais para gerar biofeedback altamente granular a partir de dados de entrada de baixa dimensão. Apresentamos as seguintes provas de conceitos: Breathing Correspondence, um sistema de biofeedback wearable inspirado nos princípios de design somaestético; Latent Steps, um modelo autoencoder em tempo real para representar experiências corporais a partir de dados de sensores, concebido para desempenho de dança; e Anti-Social Distancing Ensemble, uma instalação para intervenções no espaço público, analisando a distância física para gerar uma paisagem sonora colectiva. Os principais resultados são extraídos dos relatórios individuais, para formular um quadro técnico e teórico alargado para expandir sobre este tópico. Os projectos têm como primeiro objectivo abraçar algumas perspectivas alternativas às que já estão estabelecidas no âmbito da investigação da Computação Afectiva. A partir daqui, estes conceitos evoluem mais profundamente, fazendo a ponte entre as teorias das práticas criativas e técnicas contemporâneas com o avanço das tecnologias biomédicas

Musical Haptics

This Open Access book offers an original interdisciplinary overview of the role of haptic feedback in musical interaction. Divided into two parts, part I examines the tactile aspects of music performance and perception, discussing how they affect user experience and performance in terms of usability, functionality and perceived quality of musical instruments. Part II presents engineering, computational, and design approaches and guidelines that have been applied to render and exploit haptic feedback in digital musical interfaces. Musical Haptics introduces an emerging field that brings together engineering, human-computer interaction, applied psychology, musical aesthetics, and music performance. The latter, defined as the complex system of sensory-motor interactions between musicians and their instruments, presents a well-defined framework in which to study basic psychophysical, perceptual, and biomechanical aspects of touch, all of which will inform the design of haptic musical interfaces. Tactile and proprioceptive cues enable embodied interaction and inform sophisticated control strategies that allow skilled musicians to achieve high performance and expressivity. The use of haptic feedback in digital musical interfaces is expected to enhance user experience and performance, improve accessibility for disabled persons, and provide an effective means for musical tuition and guidance