Digital haptics improve speed of visual search performance in a dual-task setting.

Dashboard-mounted touchscreen tablets are now common in vehicles. Screen/phone use in cars likely shifts drivers' attention away from the road and contributes to risk of accidents. Nevertheless, vision is subject to multisensory influences from other senses. Haptics may help maintain or even increase visual attention to the road, while still allowing for reliable dashboard control. Here, we provide a proof-of-concept for the effectiveness of digital haptic technologies (hereafter digital haptics), which use ultrasonic vibrations on a tablet screen to render haptic perceptions. Healthy human participants (N = 25) completed a divided-attention paradigm. The primary task was a centrally-presented visual conjunction search task, and the secondary task entailed control of laterally-presented sliders on the tablet. Sliders were presented visually, haptically, or visuo-haptically and were vertical, horizontal or circular. We reasoned that the primary task would be performed best when the secondary task was haptic-only. Reaction times (RTs) on the visual search task were fastest when the tablet task was haptic-only. This was not due to a speed-accuracy trade-off; there was no evidence for modulation of VST accuracy according to modality of the tablet task. These results provide the first quantitative support for introducing digital haptics into vehicle and similar contexts

“VAST/O”: Exploring the use of expanded animation for a shared physical understanding of spatial phobias

This paper looks at materialities of expression through expanded animation. In particular, it details the development of a creative approach for the production of artworks for an installation that will provide a shared understanding of spatial phobias and their physical and psychological symptoms. It brings together the approach of the two authors and their individual research topics.  Combining experiential phenomena of particular materials (placing animation within surfaces and technologies), and spatially distributed reading of comic book panels.  The physicality of still and moving images and their distribution/placement will be explored, leading to the expansion of animation contexts.  Drawing on various makers and practices, the article explores the use of abstract comics and text as static panels and animated drawing, on-site location, and the intervention of various media technologies and other materialities to recognise their effectiveness and impact as a spatially engaged method of reading. The work developed was applied in an interdisciplinary installation titled VAST/O. The artwork is based on some theoretical approaches from literature and animation, thematically drawing on Gaston Bachelard's notion of vastness, built upon an analysis of Baudelaire’s poetry, and addressing spatial phobias. It seeks to identify a way forward for the communication of the realities of phobic experiences

Advances in Human-Protein Interaction - Interactive and Immersive Molecular Simulations

International audienc

3D locomotion biomimetic robot fish with haptic feedback

This thesis developed a biomimetic robot fish and built a novel haptic robot fish system based on the kinematic modelling and three-dimentional computational fluid dynamic (CFD) hydrodynamic analysis. The most important contribution is the successful CFD simulation of the robot fish, supporting users in understanding the hydrodynamic properties around it

Towards Reinforcement Learning of Haptic Search in 3D Environment

Moringen A, Nowainski J, Ritter H. Towards Reinforcement Learning of Haptic Search in 3D Environment.; 2018

Digital sculpture : conceptually motivated sculptural models through the application of three-dimensional computer-aided design and additive fabrication technologies

Thesis (D. Tech.) - Central University of Technology, Free State, 200

Augmenting phenomenology: using augmented reality to aid archaeological phenomenology in the landscape

Explorations of perception using GIS have traditionally been based on vision and analysis confined to the computer laboratory. In contrast, phenomenological analyses of archaeological landscapes are normally carried out within the particular landscape itself; and computer analysis away from the landscape in question is often seen as anathema to such attempts. This paper presents initial research that aims to bridge this gap by using augmented reality (AR). AR gives us the opportunity to merge the real world with virtual elements, including 3D models, soundscapes, and social media. In this way, aspects of GIS analysis that would usually keep us chained to the desk can be experienced directly in the field at the time of investigation

Bodily sensation in contemporary extreme horror film

Bodily Sensation in Contemporary Extreme Horror Film provides a theory of horror film spectatorship rooted in the physiology of the viewer. In a novel contribution to the field of film studies research, it seeks to integrate contemporary scientific theories of mind with psychological paradigms of film interpretation. Proceeding from a connectionist model of brain function that proposes psychological processes are underpinned by neurology, this thesis contends that whilst conscious engagement with film often appears to be driven by psychosocial conditions – including cultural influence, gender dynamics and social situation – it is physiology and bodily sensation that provide the infrastructure upon which this superstructure rests. Drawing upon the philosophical works of George Lakoff, Mark Johnson and Alain Berthoz, the argument concentrates upon explicating the specific bodily sensations and experiences that contribute to the creation of implicit structures of understanding, or embodied schemata, that we apply to the world round us. Integrating philosophy with contemporary neurological research in the spheres of cognition and neurocinematics, a number of correspondences are drawn between physiological states and the concomitant psychological states often perceived to arise simultaneously alongside them. The thesis offers detailed analysis of a selection of extreme horror films that, it is contended, conscientiously incorporate the body of the viewer in the process of spectatorship through manipulation of visual, auditory, vestibular, gustatory and nociceptive sensory stimulations, simulations and the embodied schemata that arise from everyday physiological experience. The phenomenological film criticism of Vivian Sobchack and Laura U. Marks is adopted and expanded upon in order to suggest that the organicity of the human body guides and structures the psychosocial engagement with, and interpretation of, contemporary extreme horror film. This project thus exposes the body as the architectural foundation upon which conscious interaction with film texts occurs

Haptics Rendering and Applications

There has been significant progress in haptic technologies but the incorporation of haptics into virtual environments is still in its infancy. A wide range of the new society's human activities including communication, education, art, entertainment, commerce and science would forever change if we learned how to capture, manipulate and reproduce haptic sensory stimuli that are nearly indistinguishable from reality. For the field to move forward, many commercial and technological barriers need to be overcome. By rendering how objects feel through haptic technology, we communicate information that might reflect a desire to speak a physically- based language that has never been explored before. Due to constant improvement in haptics technology and increasing levels of research into and development of haptics-related algorithms, protocols and devices, there is a belief that haptics technology has a promising future