Haptics

This paper outlines the development of a sensory feedback device providing a tangible interface for controlling digital environments, in this example a flight simulator, where the intention for the device is that it is relatively low cost, versatile and intuitive. Gesture based input allows for a more immersive experience, so rather than making the user feel like they are controlling an aircraft the intuitive interface allows the user to become the aircraft that is controlled by the movements of the user's hand. The movements are designed to allow a sense of immersion that would be difficult to achieve with an alternative interface. A vibrotactile based haptic feedback is incorporated in the device to further enhance the connection between the user and the game environment by providing immediate confirmation of game events. When used for navigating an aircraft simulator, this device invites playful action and thrill. It bridges new territory on portable, low cost solutions for h...

A tout instant, quoi que nous fassions, nous sommes environnés par des corps qui réduisent l’espace et opposent de la résistance. Que sont ces corps qui saturent notre quotidien et avec lesquels il nous faut constamment négocier l’espace ? Plus radicalement, pourquoi y a-t-il des corps ? Je soutiens dans cet ouvrage que la psychologie et la physique ne disposent plus des moyens de répondre à cette question. La désubstantialisation du réel amorcée par la révolution quantique sape les fondements de l’explication objectiviste de la perception privilégiée par la première, et elle évide de sa portée ontologique le discours de la seconde.
Expliquer pourquoi la réalité se présente sous la forme d’un agencement de corps exige en premier lieu de comprendre le rôle que remplit l’anticipation du possible dans la perception. Dans le toucher comme dans la vision, poser l’existence d’un corps implique d’anticiper les contraintes que ce corps exerce sur notre champ de possibilités pratiques, accréditer de manière présomptive la disponibilité ou l’indisponibilité de certaines possibilités d’action. C’est donc uniquement parce que notre subjectivité donne sens à ce qui est en le référant à ce qui peut être que la réalité macroscopique à laquelle nous introduit la perception consiste en un monde solide.
Pour développer cette idée, l’ouvrage dresse une critique de la conception actualiste du phénomène de corps, qui subordonne celui-ci à l’expérience en acte d’une résistance, et il déconstruit l’approche physicaliste et objectiviste, qui prétend dériver les propriétés des corps que nous percevons des propriétés de structures physiques qui leur seraient antécédentes ontologiquement. Si la sémantique des corps présuppose l’épaisseur du temps humain et une perspective foncièrement pragmatique sur l’environnement, il n’est plus question d’assimiler sans autre forme de procès le corps à une « structure physique », quelle qu’en soit la teneur. Les corps sont un produit de l’activité constructrice de notre subjectivité, et seule une incursion profonde dans les mécanismes et principes qui régissent cette activité pourra permettre d’accéder à leur vérité.

The aim of this Master’s project was to find out how to design a haptic collaborative virtual environment (CVE) in terms of graphical user interface, haptic force feedback and functionalities in order to increase the perceived safety and the actual safety in
handing over an object between persons interacting in the environment. The work has consisted of a review of related research and literature, development of relevant graphical and haptical design issues and implementation of a prototype. The prototype was implemented in two versions, free and constrained. Both versions had the same graphical and haptical user interface. The constrained version was developed with additional haptic feedback and functionalities in order to support a safe hand over. To evaluate the application I designed and conducted a user study that consisted of problem solving in both the versions of the CVE and an interview. The results showed that the free version was slightly more effective than the constrained version when the user was not informed about the differences. The users perceived the interaction in both the versions as intuitive and natural.

Both vision and touch contribute to the perception of real surfaces. Although there have been many studies on the individual contributions of each sense, it is still unclear how each modality's information is processed and integrated. To fill this gap, we investigated the similarity of visual and haptic perceptual spaces, as well as how well they each correlate with fingertip interaction metrics. Twenty participants interacted with ten different real surfaces from the Penn Haptic Texture Toolkit by either looking at or touching them and judged their similarity in pairs. By analyzing the resulting similarity ratings using non-metric multi-dimensional scaling (NMDS), we found that surfaces are similarly organized within the three-dimensional perceptual spaces of both modalities. Also, between-participant correlations were significantly higher in the haptic condition. In a separate experiment, we obtained the contact forces and accelerations acting on one finger interacting with each surface in a controlled way. We analyzed the collected fingertip interaction data in both the time and frequency domains. Our results suggest that the three perceptual dimensions for each modality can be represented by roughness/smoothness, hardness/softness, and friction, and that these dimensions can be estimated by surface vibration power, tap spectral centroid, and kinetic friction coefficient, respectively.

The development of a bio-hybrid tactile sensor array that incorporates a skin analogue comprised of alginate encapsulated fibroblasts is described. The electrical properties are modulated by mechanical stress induced during contact, and changes are detected by a ten-channel dual-electrode impedance sensing array. By continuously monitoring the impedance of the sensor array at a fixed frequency, whilst normal and tangential loads are applied to the skin surface, transient mechanotransduction has been observed. The results demonstrate the effectiveness and feasibility of the preliminary prototype bio-hybrid tactile sensor.

This tutorial addresses haptic simulation, perception and manipulation of complex deformable objects in virtual environments (VE). We first introduce HAPTEX, a research project dealing with haptic simulation and perception of textiles in VEs. Then, we present state-of-the-art techniques concerning haptic simulation and rendering, ranging from physically based modelling to control issues of tactile arrays and force-feedback devices. In the section on cloth simulation for haptic systems we describe techniques for simulating textiles adapted to the specific context of haptic applications. The section concerning tactile aspects of virtual objects shows how arrays of contactors on the skin can be used to provide appropriate spatiotemporal patterns of mechanical excitation to the underlying mechanoreceptors. Finally, the last section addresses the problem of developing suitable force feedback technologies for the realistic haptic rendering of the physical interaction with deformable objec...

Many tasks done easily by humans turn out to be very
difficult to accomplish with a teleoperated robot. The main reason
for this is the lack of tactile sensing, which cannot be replaced by
visual feedback alone. Once haptic devices were developed, their
potential in many fields was obvious. Especially in teleoperation
systems, where haptic feedback can increase the efficiency and even
render some tasks feasible. This paper studies Internet-based tele-
operation systems that include haptic feedback, concentrating on
the control of such systems and their performance. The potential
of this technology and its advantages will be explored. In addition,
key issues, such as stability, synchronization, and transparency will
be analyzed and studied. Specifically, event-based planning and
control of Internet-based teleoperation systems is presented with
experimental results of several implemented system scenarios in
micro– and macroscales.

Audition and vision are the two most common senses used by several types of industries as bridge for interaction with the users. And even when skin is one of the largest organs in human body, the sense of touch remains underutilized.
Several limbs of human body are constantly in touch with technological interfaces, especially the hands, which are mostly employed to grasp devices such as mobile phones or tablets. Nowadays, things like the way your smart phone feels in your hand or the content you are able to reproduce and receive from it makes the combinations of hardware and software matters because those are important considerations when buying a device.
Many of the existing devices' back are flat surfaces, usually unused, which could be improved by adding small actuators that convey an underappreciated but worthy type of information: haptic information.
Furthermore, if the broadcasting haptic contents could be easily transmitted through any communication network such as the Internet, for some scenarios like streaming contents, may help to increase the appeal of such immersing multimedia contents to be experienced through mobile devices.
To tackle the former situations, this project takes advantage of the sense of touch by providing users with synthetized haptic audio visual contents through a modified mobile device that integrate ultrasonic actuators that delivers tactile feedback in user’s hand.

Vera Kotelevskaya’s Review of Susanne Strätling’s Book "Die Hand am Werk: Poetik der Poiesis in der russischen Avantgarde". München: Wilhelm Fink Verlag 2017, 531 S., ISBN: 978-3-7705-6092-9

Ключевые слова: Велимир Хлебников; Всеволод Мейерхольд; Сергей Третьяков; русский авангард; русский формализм; русский конструктивизм; биомеханика; показ/рассказ; гаптическая поэтика; поэтология; карпалистика; жест; рука; интермедиальность

Keywords: Russian avant-garde; Russian formalism; haptic poetic; poetology; gesture; hand; Daniil Kharms; Alexey Gastev; Velimir Khlebnikov; Petr Miturich; Vsevolod Meyerhold; Sergey Tret’iyakov

Schlagwörter: Russische Avantgarde; Russischer Formalismus; haptische Poetik; Poetologie; Geste; Hand; Daniil Charms; Alexey Gastev; Welimir Chlebnikow; Petr Mituritsch; Wsewolod Meyerhold; Sergey Tret’ijakov

In this paper, we present a novel haptic technique for emulating hard surfaces with high realism; such a technique has significant potential utility in certain orthopedic surgery applications such as joint replacement surgery where the goal is to prevent incursions beyond a virtual surface during bone cutting operations. The Dynamic Physical Constraint (DPC) concept uses a unidirectional physical constraint that is actively positioned to limit movement between two manipulator links; the concept is applicable to providing virtual constraints in both 2D and 3D workspaces. Simulation results demonstrate the potential feasibility of the concept, and a prototype device was built for testing. The DPC device provides a convincing sensation of a real, hard virtual surface which can be smoothly tracked when the end effector is in contact with the surface. Incursion across the surface with the prototype was well submillimetric and within the accuracy constraints required for joint replacement applications.

Experimental aesthetics has shed light on the involvement of pre-motor areas in the perception of abstract art. However, the contribution of texture perception to aesthetic experience is still understudied. We hypothesized that digital screen-based art, despite its immateriality, might suggest potential sensorimotor stimulation. Original born-digital works of art were selected and manipulated by the artist himself. Five behavioral parameters: Beauty, Liking, Touch, Proximity, and Movement, were investigated under four experimental conditions: Resolution (high/low), and Magnitude (Entire image/detail). These were expected to modulate the quantity of material and textural information afforded by the image. While the Detail condition afforded less content-related information, our results show that it augmented the image's haptic appeal. High Resolution improved the haptic and aesthetic properties of the images. Furthermore, aesthetic ratings positively correlated with sensorimotor ...

La caractérisation de la valeur fonctionnelle de la résistance dans l’interaction haptique exige la prise en vue de la manière dont l’opération d’auxiliarisation qui confère à cette résistance le statut de support ou d’articulation externe se réalise dans la concrétude de l’activité humaine. Partant du principe que le terrain d’observation offert par certains dispositifs haptiques peut être particulièrement opportun pour cela, nous avons réalisé une étude expérimentale visant à mettre à jour, sur le cas d’une tâche de suivi de contour avec un bras à retour d’effort augmenté d’une matrice de stimulateurs tactiles, la fonction de la résistance des structures explorées dans le contrôle de l’activité. Après avoir présenté différents travaux actuellement réalisés dans le domaine des IHM haptiques, à l’intersection de la psychologie cognitive et de l’ergonomie des interfaces, nous présentons et discutons les résultats de cette étude.

In this paper we present Moody, a haptic wearable prototype intended to enhance mood music in Film through haptic sensations. Moody is the design resulting from an exploratory study aimed at finding new ways to enrich emotions in film entertainment. The work is aimed at designing expressive haptic patterns to heighten suspense and excitement in those movie scenes where the music score amplifies what can't be shown, and that, is the mood.

Kokon (Leonie Krippendorff, 2020) is a profoundly queer film that deploys some of the techniques of both haptic visuality and slow cinema (Flanagan, 2012) in order to portray the journey of sexual self-discovery of Nora, a German teenager whose identity does not fit within the limiting confines of heteronormativity. She is metaphorically compared to a caterpillar that throughout her coming-of-age summer will blossom out of her cocoon once she leaves the closet (hence the title), occupying that in-between space that Judith Halberstam associates with pre-adult girlhood, with “the not fully realized” (2003: 328). The summer setting of the love story between Nora and Romy -an older teenage girl- allows the director to explore the queerness of improductive, dead times where nothing seems to be happening; according to Edelman (2004:13), “surplus desire erupts when times are not regulated or productive” partially because LGBTIQ+ desires are located outside reproductive futurism. As Schoonover explains, “when an innocent soul” -in this case Nora- finds herself “with too much time on [her] hands, the threat of too much time often gets coded as a vulnerability to homosexuality” (2012: 73): we see her constantly luxuriating in the pool, “wasting time” with her peers or lying bored on her bed, and it is in these seemingly innocent moments where her fascination toward Romy arises.


Nominated for a Teddy Award in the last edition of the Berlin Film Festival, and showcased at the Lesgaicinemad Film Festival in Madrid, Leonie Krippendorff’s second film inscribes the protagonist’s queer (teen) sexuality on her filmic text as “a destabilizing force that produces a different model of visuality” (Galt, 2013: 65): a haptic, tactile visuality that appeals to the spectator’s senses beyond the sight (Marks, 2000). Through images of texture, touch and water -generally associated with a fluid, queer way of "being in the world" (Ahmed, 2006)- overexposed shots and disorienting closeups, the female director brings us particularly close to the bodily sensations of the queer teen protagonist, evoking the materiality of the filmic image in a manner that does not allow us to perceive her as a distant, disembodied Other. The appeal to the sensual and the bodily is also present in the film’s constant instrumentalization of the abject (Kristeva, 1982): “disgusting” fluids such as menstrual blood, vomit and spit take a fundamental role in the film’s construction of queer teenage girlhood.

Ulrik Ekman, " Oplevelsen af museet som mikset virkelighed " Det er den langvarige og forfinede digitale billed-og videoredigering af de forudgående analoge filmoptagelser i høj opløsning til Bill Violas Five Angels for the Millenium (2001), 1 der, sammen med den digitale redigering af lydsporene, muliggjorde og ledte til, at jeg blev anderledes berørt og bevaeget i og af denne installation ved mit besøg på kunstmuseet ARoS i Aarhus i 2005. Hvis der stadig er kulturarv og en arkiveret erindring under udvikling for mig efter udstillingen " Bill Viola Visions " , 2 så omhandler disse den videre udfoldning af sporet efter at vaere blevet slået af medieringen af en tilsyneladende naturstridig og overvaeldende billedmaessig skønhed samt differenserne i de dybe og undertiden naesten subsoniske lydserier, der fik rummet, min trommehinde, øregang og hud til at vibrere før, jeg følte. Jeg blev flyttet, flyttede mig, var så kinaestetisk bevaeget, sanseligt og følelsesmaessigt berørt. Jeg forblev laenge i denne remediering og var måske ikke laengere helt den samme. Derefter ville jeg gerne røre ved billedprojektionernes lys og skygge, farver og changeringer, engle og vand; selv tilføje eller lave diskret kodede redigeringer af dråber og englelige gestus; filme og optage installationen for at baere dens aftryk og indtryk med mig, for at kunne gentage med en forskel der gjorde endnu en forskel. Det måtte jeg imidlertid ikke, sagde både skiltet uden for og kustoden inde i installationens sorte boks, denne mindre kvasi-katedral af samtidskunst med nye medier og informationsteknologi.-*-Det oplysende museumsbesøg Der er en vis forskel mellem at tilnaerme sig implikationerne af IKT og nye medier for museet via opkomsten af mediekunst (som her en af Bill Violas relativt sene og større installationer) hhv. via museumsinstitutionens egen tilgang til samme. Men måske kan min antagelse her holde: mediekunsten, både bredt sociokulturelt set og mere specifikt i museal udstillingssammenhaeng, er den mere fint differentierede og fremadrettede samtidsdiagnostiske indikator af de to (ikke ganske, men relativt mere på lige fod med de større kraefter på spil i militaer og efterretningstjenester, virksomheder samt forskningscentre). Dette ikke blot fordi mediekunsten er mere intimt involveret i samspil og mere eksperimentelt på forkant med den teknokulturelle udvikling, men også og isaer fordi kunstmuseerne-som de fleste besøgende, kunsthistoriske forskere, kulturpolitikere, embedsmaend i Kulturarvsstyrelsen eller medlemmer af Kunstrådet samt museumsansatte må have bemaerket-i mindst to årtier har udvist en meget afventende, tøvende og skeptisk holdning til det for alvor at åbne dørene for nutidens netvaerkssamfund og oplevelsessamfund. Hvis denne antagelse holder, er mødet med Violas installation et udmaerket første signal om et endnu ganske uafklaret og komplekst spørgsmål vedrørende, hvordan museerne evt. yderligere vil naerme sig besøg af de, der lever i og lever igennem samtidens netvaerkssamfund og oplevelsessamfund på disses praemisser, nu da de så omsider udgør noget naer et uomgaengeligt sociokulturelt og teknisk vilkår. Violas arbejde er endda i lige denne sammenhaeng en relativt uskyldig indgangsvinkel, idet der f.eks. ikke er tale om gensidigt udviklende interaktivitet, men en stabil og velafgraenset installationstype som endvidere tydeligvis sigter mod en tilegnelse af en

Since the rise of radio and television, we have lived in an era defined increasingly by the electronic circulation of images and sounds. But the flood of new computing technologies known as haptic interfaces—which use electricity, vibration, and force feedback to stimulate the sense of touch—are promising to change this situation, offering an alternative way of mediating and experiencing reality.

In Archaeologies of Touch, David Parisi offers the first full history of these increasingly vital technologies, showing how the efforts of scientists and engineers over the past 300 years have gradually remade and redefined our sense of touch. Through lively analyses of electrical machines, videogames, sex toys, sensory substitution systems, robotics, and human-computer interfaces, Parisi shows how the materiality of touch technologies has been shaped by attempts to transform humans into more efficient processors of information.

With haptics becoming ever more central to emerging virtual reality platforms (immersive bodysuits loaded with touch stimulating actuators), wearable computers (haptic messaging systems like the Apple Watch’s Taptic Engine), and smartphones (vibrations that emulate the feel of buttons and onscreen objects), Archaeologies of Touch offers a timely and provocative engagement with the long history of touch technology that helps us confront and question the power relations of giving touch its own set of technical media.

During laparoscopic surgeries, primary surgical tool insertion is the demanding and strenuous task. As the surgeon is unaware of the type of the tissue and associated parameters to conduct the insertion, therefore, to ease the procedure, the movement of the surgical tool needs to be controlled. It's the operational capabilities that are to be manipulated to perform a smooth surgery even from a distant location. In this study, a robot system is being introduced for laparoscopic primary surgical tool insertion. It will incorporate a novel observer based dynamic control along with robot assisted bilateral control. Moreover, a virtual spring damper force lock system is introduced through which the slave system will notify the master regarding the target achieved and excessive force. The validation of the proposed control system is experimented with bilaterally controlled MU-LapaRobot. The experiment is comprising 3 cases of bilateral control criteria which are non-contact motion, contact motion, and limit force locking. The results defined the same value for contact and non-contact motion by 0.3N. The results depicted a force error of 3.6% and a position error of 5.8% which validated the proposed algorithm.

Here we report a haptic virtual reality simulator for root canal treatment (endodontic procedures). A virtual jaw model was extracted from CT data of a live patient and the volumetric data obtained were visualized using a Marching Cubes algorithm. Collision detection and collision response algorithms were developed using a voxel-based approach. Removal of bone was visualized using a modified real-time Marching Cubes method and deformation of the K-files in the internal surface of tooth canal was simulated haptically and graphically using OpenGL and HDAPI of OpenHaptics Libraries. Using a haptic robot (Omni Phantom) the user can burr the enamel and dentin until reaching the pulp chamber and then the internal surface of a root canal can be cleaned using a simulated K-file.

In this age of occularcentrism, architecture has been increasingly defined by the exterior building form and façade. There has been a lack of emphasis on interior space, tectonic assemblages, and the relationship of the parts to the whole. This may be the result of advances in construction technology to create increasingly more complex forms or the proliferation of architectural images on the Internet. Or, perhaps there has also been a lack of attention in architectural education on having students develop their designs with an emphasis on the internal space and components of a building?
With advances in computer modeling and rendering, there seems to be an increasing reliance on the exterior image of a building to “sell” the design. Like back seats in a sports car, the program often appears to be stuffed into spaces that are not well thought out, with circulation that is disorganized, and structure that has a blatant disregard for the laws of physics. By designing from the exterior form first, buildings often act more as a billboard rather than as a functional and inspiring interior space that is inhabited by people. This is evident in many sectional drawings where the interior space is obviously an after thought to the exterior building form.
I ask that we consider how architectural pedagogy contributes to or challenges the design of exterior dominated buildings by students. I will describe a process that I have taught in a number of beginning architecture studios that focus on designing a building from the inside out. This approach is two fold: to focus attention to the building interior and components as the primary design driver and to relate the studio project to concurrent core-curriculum courses that explore building components, codes, and structure.
By designing from the inside out, students are tasked with exploring the building as an interrelated system of parts that make up a whole. The assigned modules include: tectonic/stereotomic, program, structure and partition, circulation and egress, and lastly building envelope and façade. Additional exercises include light box studies and figurative sketches that explore the interior quality of space.
A series of case studies demonstrate effective application of each module topic into the architectural design process, while weekly studio discussions reinforce the theoretical and practical underpinnings of the content. This includes examining concepts such as grids that respond to structural spacing and anthropogenic sizing, rhythm and repetition, dimensional and modular construction components, the use of program as spatial and form driver, and the expression and tectonic assemblage of building components.
I will describe my observations, both beneficial and critical findings from this design process, when and why I feel it is appropriate and useful in architectural design education, and how it can successfully reinforce additional curriculum from Structures, Architectural Practice, and Environmental Control Systems. I hope to open the conversation about architecture pedagogy by looking inside to ask how we can celebrate the design of the habitable space in the building and its relationship to a complex system of parts.

In marked contrast to more recent discussions of cinematic affect, this article seeks to affirm the ineluctably passive experience of moving-images. In particular, the essay returns to the tradition of psychology and art history that developed, in the later nineteenth and early twentieth century, around the concept of Einfühlung. On this basis, I argue that cinema constitutes a kind of prosthetic perception whereby the brain is inhabited and vehicularized by images that are not its own.

Philippe Grandrieux is one of cinema's only living true radicals and feted as one of the most innovative and important film makers of his generation. His consistently controversial work remains, however, relatively unknown outside of the international art film festival circuit. In this volume, the first book-length study of the work of Grandrieux in any language, Greg Hainge provides an overview and critical analysis of Grandrieux's entire career during which he has produced works for television, video installations, photography, performance pieces, documentary films, short films and prize-winning feature films. As well as providing an overview, the book argues that a critical appraisal of his work necessarily leads us to problematize many of the critical orthodoxies that have been formed in recent times, to reject the concept of a haptic cinema and to supplant this instead with the idea of a sonic cinema.

Touch is central to the embodied experience of material garments. Passive touch sensations convey how dress feels on the skin, and active touch enables the perception and appreciation of its material properties, as the term “fabric hand” aptly implies. In fact, the subjectively perceived tactile at-tributes of materials have been described and categorized into ad-hoc lexicons by means of sensory evaluation research procedures involving both expert and non-expert panellists. These vocabularies provide a semantic framework for the description of garment materials from a consumer perspective. Thus, they can also serve as an interpretative lens for how tactility is communicated to online viewers. However, a pragmatic, qualitative investigation into a representative sample of popular fashion e-commerce websites indicates that references to touch within garment page descriptions are sparse. Given e-commerce’s relevance for fashion brands, improving communication of touch in text presents opportunities.

Les images tactiles sont des traductions et adaptations en relief de contenus de la culture visuelle tels que les schémas, les illustrations et les œuvres picturales. Elles sont en général utilisées dans les projets éducatifs et culturels d’inclusion et d’accessibilité des personnes non-voyantes. Mais comment traduire les images issues du monde visuel afin qu’elles soient perçues et interprétées du bout des doigts ? Comment les designers peuvent-ils rendre ces images plus accessibles aux non-voyants ? Afin de répondre à ces questions, nous avons évalué la production et la lecture de dessins par des jeunes non-voyants et malvoyants placés dans un environnement ludique. Pour ce faire, nous avons inventé et mis au point un jeu de dessin tactile, Tactilonary, permettant d’observer in situ et in vivo l’activité graphique et les stratégies de com- munication des sujets de l’expérience, tout en conservant un cadre réaliste au plus proche des activités de la vie ordinaire.
Cet article présente une étude ethnographique portant sur les atti- tudes, les comportements et les interactions entre les joueurs, ain- si que l’analyse sémiotique des composants figuratifs des représen- tations graphiques des objets selon le type de déficience visuelle. Les données recueillies montrent les conflits interprétatifs qui apparaissent lorsque les non-voyants sont confrontés aux normes de la représentation visuelle. Les résul- tats de cette recherche renforcent la nécessité de prise en compte des aspects per- ceptifs et sémiotiques de la cécité lors de la conception de dispositifs tactiles destinés à ce public spécifique.

Abstract :
Tactile images are the translation and adaptation in relief of the contents of visual culture such as diagrams, illustrations and paintings. They are generally used in educational and cultural projects dedicated to the inclusion and accessibility of blind people. But how does one translate the images from the seeing environment so they can be perceived and interpreted with the fingertips? How can designers make these images more accessible to blind people? To answer these questions, we have evaluated the production and interpretation of drawings by young blind and visually impaired people using the Tactilonary tactile game. To do this, we have invented and developed this game to create a fun environment allowing us to observe in situ and in vivo the graphic activity and communication strategies of participants, while maintaining a realistic environment closer to the activities of day-to-day life.
This paper presents an ethnographic study on the attitudes, behaviours and interac- tions between players as well as the semiotic analysis of the figurative components of the graphic representations of objects depending on the type of visual impairment. The data collected shows the interpretative conflicts that occur when blind people are faced with the norms of visual representation. The results of this research underline the need to take into account the perceptual and semiotic aspects of blindness in the design of haptic devices targeted at this specific audience.

Digital Synesthesia is the concept of using sensors and mobile technology to create a user experience that mimics the way people use their senses and enables the perception of information that is outside of our sensory spectrum. Modern technology already offers the ability to detect this information, but what has not been achieved is a way for our brains and body to incorporate this new information as a part of our sensory tool-belt. Then we can truly begin to understand our surrounding world in a new and undiscovered way. The vision of Digital Synesthesia is to help the current idea of Human-Computer Interface evolve so that it gives way for a new Human-Environment Interface. Digital Synesthesia aims to keep our mobile devices in our pockets while allowing us to experience the world by sensing information outside of our sensory capabilities. The system will not only collect data through sensors, but also find the best way to pass the information to the body while bypassing visual and auditory channels. This way, the brain will be able to interpret the new information without shifting or dividing attention from the current task.

A structured computational framework to efficiently detect collision between deformable freeform shapes in a VR environment is proposed in this paper. The deformable shape is represented as a B-spline surface and no assumption is made with regard to the degree of the surface, extent of deformation or virtual material properties. The proposed technique calculates and stores transformation matrices and their

W artykule autorka dyskutuje nowe zjawisko kulturowe, znane jako ASMR, w szczególności jego zainteresowanie multizmysłowością, w perspektywie posthumanistycznej, związanej z niehierarchicznością ludzkich zmysłów. Tekst analizuje wybrane filmy z gatunku ASMR opublikowane w serwisie internetowym YouTube, skupiając się na sposobach ukazywania w nich różnych wrażeń zmysłowych (wzrokowych, słuchowych, dotykowych, zapachowych, smakowych), stawiając tezę, że praktyki ASMR promują posthumanistyczny typ wrażliwości oraz zachęcają do wytwarzania alternatywnych trybów doświadczania świata.

Starting with the release of Half-Life 2 in November 2004, Valve has been shipping games based upon its Source game engine. Other Valve titles using this engine include Counter-Strike: Source, Lost Coast, Day of Defeat: Source and the recent Half-Life 2: Episode 1. At the ...

The article address the relation between the linguistic sign, philosophical concept and economic value through touch and tactility. Starting from Saussure’s own tactile metaphor of the sign as the “wave as encounter of wind and water” (implying touch as the mediator between the wind of the signifier and the water of the signified), the author proceeds through three different approaches in regard to the question of language and the related problem of touch: first, through Saussure’s idea of the sign as homonymous to value in order to correlate it with Marx’s own definition of value as the one ”converting every product into a social hieroglyphic” (implying value as the converter of a tactile materiality into a material language); second, through Hegel’s conception of the sign as the “pyramid into which a foreign soul has been conveyed and where it is conserved” (implying a tactility of the sign and an untouchable content); and third, Hegel’s Begriff, as it differs from both the sign and the symbol, in connection to Lacan’s concept of lalangue (implying a certain tactile quality inside language itself).

The premise of this chapter is the correspondence between ontology and linguistics, such as was argued by Trendelenburg and Benveniste. Its basic thesis is that Aristotle’s ontology is a haptic ontology which was significantly upgraded by the phenomenological work of Franz Brentano. The first part of the chapter is dedicated to Aristotle’s account of the sense of touch in De Anima, where it seems that touch has a certain privilege among all senses insofar as all senses operate by way of touching (affecting, moving). The second part focuses on the account of movement and change in Physics, and especially to Aristotle’s efforts to explain them without having to introduce void. In the third part, the chapter enters the domain of Aristotle’s ontology proper and discusses its abhorrence of the void as the claim that all being is continuous. The fourth and final part of the chapter discusses the work of Franz Brentano and focuses on his introduction of the concept of plerosis, through which he attempted to explain non-continuous boundaries of a continuum (points, lines, or planes) as belonging to the continuum itself and even exhibiting the properties of the continuum. The chapter concludes by arguing that the Brentanian version of the ontology of touch is useful for the project of haptolinguistics.

In this paper I come to the more general issues of a sensuous archaeology through the sense of touch - the haptic sense. Using data from the Neolithic site of Çatalhöyük, Turkey,  I stress that the sense of touch involves far more than just fingers and skin, far more than the obvious haptic sensations, such as surface, form, pressure, pain, temperature, and texture. It involves the full-body sensations of balance and the sense of movement in any part of the body. I anchor my investigation of touch and movement in the past in the archaeological data using existing methodologies such as contact trace analysis and human kinetics. I argue that the concept of taskscapes enables us to think about the temporality, events, and rhythms of the body's haptic responses, which themselves are essential elements of understanding social practice. I suggest that another anchor to investigating sensory responses in the past is the process by which practices that started as new and unfamiliar experiences became familiar and ‘enactive knowledge’. I end with an exploration of the potential of digital technologies to transform the sharing of archaeological interpretations of past multisensorial experience that include the sense of touch.
https://www.ruthtringham.com/project/sense-of-touch-2013/