3DTouch: A wearable 3D input device with an optical sensor and a 9-DOF inertial measurement unit

We present 3DTouch, a novel 3D wearable input device worn on the fingertip for 3D manipulation tasks. 3DTouch is designed to fill the missing gap of a 3D input device that is self-contained, mobile, and universally working across various 3D platforms. This paper presents a low-cost solution to designing and implementing such a device. Our approach relies on relative positioning technique using an optical laser sensor and a 9-DOF inertial measurement unit. 3DTouch is self-contained, and designed to universally work on various 3D platforms. The device employs touch input for the benefits of passive haptic feedback, and movement stability. On the other hand, with touch interaction, 3DTouch is conceptually less fatiguing to use over many hours than 3D spatial input devices. We propose a set of 3D interaction techniques including selection, translation, and rotation using 3DTouch. An evaluation also demonstrates the device's tracking accuracy of 1.10 mm and 2.33 degrees for subtle touch interaction in 3D space. Modular solutions like 3DTouch opens up a whole new design space for interaction techniques to further develop on.Comment: 8 pages, 7 figure

LeviSense: a platform for the multisensory integration in levitating food and insights into its effect on flavour perception

Eating is one of the most multisensory experiences in everyday life. All of our five senses (i.e. taste, smell, vision, hearing and touch) are involved, even if we are not aware of it. However, while multisensory integration has been well studied in psychology, there is not a single platform for testing systematically the effects of different stimuli. This lack of platform results in unresolved design challenges for the design of taste-based immersive experiences. Here, we present LeviSense: the first system designed for multisensory integration in gustatory experiences based on levitated food. Our system enables the systematic exploration of different sensory effects on eating experiences. It also opens up new opportunities for other professionals (e.g., molecular gastronomy chefs) looking for innovative taste-delivery platforms. We describe the design process behind LeviSense and conduct two experiments to test a subset of the crossmodal combinations (i.e., taste and vision, taste and smell). Our results show how different lighting and smell conditions affect the perceived taste intensity, pleasantness, and satisfaction. We discuss how LeviSense creates a new technical, creative, and expressive possibilities in a series of emerging design spaces within Human-Food Interaction

Behaviour change at work: Empowering energy efficiency in the workplace through user-centred design

Copyright @ 2011 University of California eScholarship RepositoryCO2 emissions from non-domestic buildings - primarily workplaces - make up 18 percent of the UK's carbon footprint. A combination of technology advances and behavioural changes have the potential to make significant impact, but interventions have often been planned in ways which do not take into account the needs, levels of understanding and everyday behavioural contexts of building users - and hence do not achieve the hoped-for success.This paper provides a brief introduction to the Empower project, a current industrial-academic collaboration in the UK which is applying methods from user-centred design practice to understand diverse users' needs, priorities, mental models of energy and decision-making heuristics - as well as the affordances available to them - in a number of office buildings. We are developing and trialling a set of low-cost, simple software interventions tailored to multiple user groups with different degrees of agency over their energy use, which seek to influence more energy efficient behaviour at work in areas such as HVAC, lighting and equipment use. The project comprises an ethnographic research phase, a participatory design programme involving building users in the design of interventions, and iterative trials in a large office building in central London

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities