Force feedback

International audienceThe term force feedback has a relatively long history in various fields. It originates in the field of teleoperation

Transparency_2

International audienceIn robotics and teleoperation, the paradigm of transparency seeks at evaluating the identity of the mechanical manipulation chain as compared to the electrified, decomposed. In VR, the usual understanding of the concept of transparency can be viewed an extension of the transparency in real-real teleoperation

Cobot

International audienceCobot stands for collaborative robot. Edward Colgate, Witaya Wannasuphoprasit and Michael Peshkin first proposed this term in 1996: they defined a cobot as "a robotic device, which manipulates objects in collaboration with a human operator". Cobots were first designed in order to constrain human operator movements, in particular man-machine environments, but maintaining the human-object mechanical interaction: human movements are constrained by the definition of what is called virtual surfaces

Modèles et simulation en temps réel de corde frottée

International audienceLa synthèse musicale par simulation de modèles physiques permet de retrouver les conditions du jeu instrumental. La qualité musicale obtenue dépend pour une part importante du mécanisme excitateur. Ce papier présente un modèle d'excitateur rendant compte des viscosités et adhérence non linéaires du couplage archet-corde et sa simulation en temps-réel

Bowed string synthesis with force feedback gesture interaction

International audienceThe CORDIS ANIMA formalism allows to model physical objects according to a modular methodology which guaranties, at each step of modeling, the energetic consistency of the behavior of the model. Maintening this energetic consistency is a crucial point in the use of interactive simulation by means of Physical Modeling and Force Feedback Gesture Devices. This paper presents a CORDIS-ANIMA model of bowed string, which closely links the properties of the produced sounds to the gesture and energetic investment of the player. A pertinent feature of real bowed instruments is their high sensitivity to the gesture dynamic. The proposed model restitutes this sensitivity providing high musical quality and nuances in the synthetic sounds. In addition, the use of the consistent physically-based modular designing presented here, allows the designer to lead towards a minimal physical model able to restitute this so pertinent feature

Real-time bowed string synthesis with force feedback gesture interaction

International audienceThe CORDIS ANIMA formalism has been designed to model and simulate physical objects in a modular methodology, which guaranties at each step of modeling the energetic consistency of the model motions and internal behavior. Maintaining this energetic consistency is a crucial point in the use of interactive synthesis by the means of Physical Modeling and Force feedback gesture device. It can be used to synthesize sounds and design virtual instruments which can be payed thanks to the real-time simulation and force-feedback gesture interfaces. Bowed string model of such virtual instruments can be designed and built with this tool

Effector

International audienceOne can distinguish between three uses (and related definitions) of the term effector: in human beings, in control systems and robotics (where it is sometimes synonymous of actuator), and in robotics (where it may also refers to the tool attached to the last point in a robotic chain)

Stability

International audienceWhen haptic interactions between a user and a physical object is mediated by haptic devices, or when manipulating a virtual object by means of an haptic device, an essential prerequisite is to preserve the stability of the whole haptic system. Indeed, unstable behaviours of the system can damage the user and the system itself. From a theoretical point of view, stability is the ability of a system to maintain equilibrium under the influence of external factors

Technologies de la Simulation Interactive de Modèles Physiques Multisensoriels

This thesis presents my research activity on multisensory interactive simulation (gesture, sound and image), in technological and conceptual aspects. This interdisciplinary research concerns three fields : 1/ physical modeling for simulation, 2/ hardware and software architectures for real time computation, 3/ interactive gestural interfaces (with force feedback). Work done in these three fields is presented chronologically.Ce mémoire présente mon activité de recherche sur la simulation interactive multisensorielle (geste, son et image), dans ses aspects technologiques et conceptuels. C’est une recherche interdisciplinaire qui concerne trois domaines : 1/ modélisation physique pour la simulation, 2/ architectures matérielles et logicielles pour le calcul temps réel, 3/ interfaces gestuelles interactives (à « retour d’effort »). Les travaux effectués dans ces trois domaines sont exposés de manière chronologique

Autour de la simulation instrumentale modulaire et du contrôle gestuel : quelques problèmes théoriques et d'implantation.

International audienceLa spécificité de notre équipe est d'avoir choisi très tôt les modèles physiques comme paradigme de base pour l'outil informatique de création musicale. Cela l'a amenée à développer des concepts généraux sur les modèles physiques, la simulation en temps-réel et le contrôle gestuel. Or la simulation instrumentale modulaire avec le contrôle gestuel temps réel pose au concepteur d'un outil informatique de création musicale des problèmes spécifiques. Nous allons essayer d'examiner ces problèmes et d'en donner notre analyse actuelle