Putting the feel in ’look and feel‘

Haptic devices are now commercially available and thus touch has become a potentially realistic solution to a variety of interaction design challenges. We report on an investigation of the use of touch as a way of reducing visual overload in the conventional desktop. In a two-phase study, we investigated the use of the PHANToM haptic device as a means of interacting with a conventional graphical user interface. The first experiment compared the effects of four different haptic augmentations on usability in a simple targeting task. The second experiment involved a more ecologically-oriented searching and scrolling task. Results indicated that the haptic effects did not improve users performance in terms of task completion time. However, the number of errors made was significantly reduced. Subjective workload measures showed that participants perceived many aspects of workload as significantly less with haptics. The results are described and the implications for the use of haptics in user interface design are discussed

Mid-Air Haptics for Control Interfaces

Control interfaces and interactions based on touch-less gesture tracking devices have become a prevalent research topic in both industry and academia. Touch-less devices offer a unique interaction immediateness that makes them ideal for applications where direct contact with a physical controller is not desirable. On the other hand, these controllers inherently lack active or passive haptic feedback to inform users about the results of their interaction. Mid-air haptic interfaces, such as those using focused ultrasound waves, can close the feedback loop and provide new tools for the design of touch-less, un-instrumented control interactions. The goal of this workshop is to bring together the growing mid-air haptic research community to identify and discuss future challenges in control interfaces and their application in AR/VR, automotive, music, robotics and teleoperation

Haptic Aesthetics

In On Touching (2000), Derrida dwells on the loving gaze and wonders: ‘can eyes manage to touch, first of all, to press together like lips?’ For Laura Marks, the ‘haptic is a form of visuality that muddies intersubjective boundaries’… it is ‘predicated on closeness, rather than the distance that allows the beholder to imaginatively project onto the object’. Deleuze describes a new clarity that comes from ‘the formation of a third eye, a haptic eye, a haptic vision of the eye’. Relating to the sense of touch, haptic visuality implies an intimate form of looking, where meaning is formed with the graze of the eye over an object. What can it mean to see through touch? What does touch look like? Can we touch in order to see and what happens when the two senses of touch and sight join together? This paper explores themes of subjectivity and haptic vision, the trace and the surface, visibility, touch and the untouched

Young children do not integrate visual and haptic information

Several studies have shown that adults integrate visual and haptic information (and information from other modalities) in a statistically optimal fashion, weighting each sense according to its reliability. To date no studies have investigated when this capacity for cross-modal integration develops. Here we show that prior to eight years of age, integration of visual and haptic spatial information is far from optimal, with either vision or touch dominating totally, even in conditions where the dominant sense is far less precise than the other (assessed by discrimination thresholds). For size discrimination, haptic information dominates in determining both perceived size and discrimination thresholds, while for orientation discrimination vision dominates. By eight-ten years, the integration becomes statistically optimal, like adults. We suggest that during development, perceptual systems require constant recalibration, for which cross-sensory comparison is important. Using one sense to calibrate the other precludes useful combination of the two sources

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

Mid-air haptic rendering of 2D geometric shapes with a dynamic tactile pointer

An important challenge that affects ultrasonic midair haptics, in contrast to physical touch, is that we lose certain exploratory procedures such as contour following. This makes the task of perceiving geometric properties and shape identification more difficult. Meanwhile, the growing interest in mid-air haptics and their application to various new areas requires an improved understanding of how we perceive specific haptic stimuli, such as icons and control dials in mid-air. We address this challenge by investigating static and dynamic methods of displaying 2D geometric shapes in mid-air. We display a circle, a square, and a triangle, in either a static or dynamic condition, using ultrasonic mid-air haptics. In the static condition, the shapes are presented as a full outline in mid-air, while in the dynamic condition, a tactile pointer is moved around the perimeter of the shapes. We measure participants’ accuracy and confidence of identifying shapes in two controlled experiments (n1 = 34, n2 = 25). Results reveal that in the dynamic condition people recognise shapes significantly more accurately, and with higher confidence. We also find that representing polygons as a set of individually drawn haptic strokes, with a short pause at the corners, drastically enhances shape recognition accuracy. Our research supports the design of mid-air haptic user interfaces in application scenarios such as in-car interactions or assistive technology in education

Direct measurement of mechanical vibrations of the 4-rod RFQ at the HLI

In this paper, we present a new haptic interface, called active skin , which is configured with a tactile sensor and a tactile stimulator in single haptic cell, and multiple haptic cells are embedded in a dielectric elastomer. The active skin generates a wide variety of haptic feel in response to the touch by synchronizing the sensor and the stimulator. In this paper, the design of the haptic cell is derived via iterative analysis and design procedures. A fabrication method dedicated to the proposed device is investigated and a controller to drive multiple haptic cells is developed. In addition, several experiments are performed to evaluate the performance of the active skin