Search Results (9)

In this narrative historical review, we take a closer look at the role of tactile/haptic stimulation in enhancing people’s immersion (and sense of presence) in a variety of entertainment experiences, including virtual reality (VR). An important distinction is highlighted between those situations in which digital tactile stimulation and/or haptic feedback are delivered to those (i.e., users/audience members) who passively experience the stimulation and those cases, including VR, where the user actively controls some aspects of the tactile stimulation/haptic feedback that they happen to be experiencing. A further distinction is drawn between visual and/or auditory VR, where some form of tactile/haptic stimulation is added, and what might be classed as genuinely haptic VR, where the active user/player experiences tactile/haptic stimulation that is effortlessly interpreted in terms of the objects and actions in the virtual world. We review the experimental evidence that has assessed the impact of adding a tactile/haptic element to entertainment experiences, including those in VR. Finally, we highlight some of the key challenges to the growth of haptic VR in the context of multisensory entertainment experiences: these include those of a technical, financial, psychological (namely, the fact that tactile/haptic stimulation often needs to be interpreted and can reduce the sense of immersion in many situations), psycho-physiological (such as sensory overload or fatigue), physiological (e.g., relating to the large surface area of the skin that can potentially be stimulated), and creative/artistic nature. Full article

Immersive technologies have thrived on a strong foundation of software and hardware, injecting vitality into medical training. This surge has witnessed numerous endeavors incorporating immersive technologies into surgery simulation for surgical skills training, with a growing number of researchers delving into this domain. Relevant experiences and patterns need to be summarized urgently to enable researchers to establish a comprehensive understanding of this field, thus promoting its continuous growth. This study provides a forward-looking perspective by reviewing the latest development of immersive interactive technologies for surgery simulation. The investigation commences from a technological standpoint, delving into the core aspects of virtual reality (VR), augmented reality (AR) and mixed reality (MR) technologies, namely, haptic rendering and tracking. Subsequently, we summarize recent work based on the categorization of minimally invasive surgery (MIS) and open surgery simulations. Finally, the study showcases the impressive performance and expansive potential of immersive technologies in surgical simulation while also discussing the current limitations. We find that the design of interaction and the choice of immersive technology in virtual surgery development should be closely related to the corresponding interactive operations in the real surgical speciality. This alignment facilitates targeted technological adaptations in the direction of greater applicability and fidelity of simulation. Full article

The aim of the peer-to-peer (P2P) decentralized gaming industry has shifted towards realistic gaming environment (GE) support for game players (GPs). Recent innovations in the metaverse have motivated the gaming industry to look beyond augmented reality and virtual reality engines, which improve the reality of virtual game worlds. In gaming metaverses (GMs), GPs can play, socialize, and trade virtual objects in the GE. On game servers (GSs), the collected GM data are analyzed by artificial intelligence models to personalize the GE according to the GP. However, communication with GSs suffers from high-end latency, bandwidth concerns, and issues regarding the security and privacy of GP data, which pose a severe threat to the emerging GM landscape. Thus, we proposed a scheme, Game-o-Meta, that integrates federated learning in the GE, with GP data being trained on local devices only. We envisioned the GE over a sixth-generation tactile internet service to address the bandwidth and latency issues and assure real-time haptic control. In the GM, the GP’s game tasks are collected and trained on the GS, and then a pre-trained model is downloaded by the GP, which is trained using local data. The proposed scheme was compared against traditional schemes based on parameters such as GP task offloading, GP avatar rendering latency, and GS availability. The results indicated the viability of the proposed scheme. Full article

This document presents a systematic review of Multimodal Human–Computer Interaction. It shows how different types of interaction technologies (virtual reality (VR) and augmented reality, force and vibration feedback devices (haptics), and tracking) are used in different domains (concepts, medicine, physics, human factors/user experience design, transportation, cultural heritage, and industry). A systematic literature search was conducted identifying 406 articles initially. From these articles, we selected 112 research works that we consider most relevant for the content of this article. The articles were analyzed in-depth from the viewpoint of temporal patterns, frequency of usage in types of technology in different domains, and cluster analysis. The analysis allowed us to answer relevant questions in searching for the next steps in work related to multimodal HCI. We looked at the typical technology type, how the technology type and frequency have changed in time over each domain, and how papers are grouped across metrics given their similarities. This analysis determined that VR and haptics are the most widely used in all domains. While VR is the most used, haptic interaction is presented in an increasing number of applications, suggesting future work on applications that configure VR and haptic together. Full article

The simulation of fabrics physics and its interaction with the human body has been largely studied in recent years to provide realistic-looking garments and wears specifically in the entertainment business. When the purpose of the simulation is to obtain scientific measures and detailed mechanical properties of the interaction, the underlying physical models should be enhanced to obtain better simulation accuracy increasing the modeling complexity and relaxing the simulation timing constraints to properly solve the set of equations under analysis. However, in the specific field of haptic interaction, the desiderata are to have both physical consistency and high frame rate to display stable and coherent stimuli as feedback to the user requiring a tradeoff between accuracy and real-time interaction. This work introduces a haptic system for the evaluation of the fabric hand of specific garments either existing or yet to be produced in a virtual reality simulation. The modeling is based on the co-rotational Finite Element approach that allows for large displacements but the small deformation of the elements. The proposed system can be beneficial for the fabrics industry both in the design phase or in the presentation phase, where a virtual fabric portfolio can be shown to customers around the world. Results exhibit the feasibility of high-frequency real-time simulation for haptic interaction with virtual garments employing realistic mechanical properties of the fabric materials. Full article

Within this paper, I explore the look and feel of the subjective point-of-view (POV) shot in narrative cinema and how it presents an awkward and uncomfortable space for the viewer to inhabit. It considers what David Bordwell has called the surrogate body: the concept in which viewers step into the role of an offscreen protagonist. In numerous films, this style invites the spectator to see and feel through the eyes and movement of a particular type of surrogate character, which as I argue, predominantly consists of killers, victims or socially inept characters. The term I give for this particular trait in cinema is hap-tech narration, which is inspired by Laura Marks’ concept of haptic cinema. Unlike Marks’ understanding of haptic which focuses upon sensual beauty, hap-tech narration considers phenomenological uncomfortableness which is considered through Don Ihde’s philosophy of technology. This paper incorporates Ihde’s framework of postphenomenology, which considers how experientiality is changed and filtered through technological devices (which in this analysis will be the technology of the camera and the frame of the screen). Using Ihde’s postphenomenological understanding of human–technology relationships (which this work explores in detail), I consider a range of narrative films that utilise POV camerawork, including: Delmer Daves’ Dark Passage (1947), Michael Powell’s Peeping Tom (1960) and Julian Schnabel’s Le Scaphandre et le Papillon (The Diving Bell and Butterfly, 2007). Each of these titles present events through the subjective gaze of a killer, victim or socially damaged character. This paper offers a rationale as to why this is the case by addressing POV through the philosophy of Ihde, enabling an understanding of hap-tech narration to be unpacked, in which viewers are placed into corrupted and damaged corporeality through the technological power of the camera. Full article

As technologies diversify and become embedded in everyday lives, the technologies we expose to animals, and the new technologies being developed for animals within the field of Animal Computer Interaction (ACI) are increasing. As we approach seven years since the ACI manifesto, which grounded the field within Human Computer Interaction and Computer Science, this thematic literature review looks at the technologies developed for (non-human) animals. Technologies that are analysed include tangible and physical, haptic and wearable, olfactory, screen technology and tracking systems. The conversation explores what exactly ACI is whilst questioning what it means to be animal by considering the impact and loop between machine and animal interactivity. The findings of this review are expected to form the first grounding foundation of ACI technologies informing future research in animal computing as well as suggesting future areas for exploration. Full article

This article explores beachcombing and gleaning as practices that combine mobility with daydreaming and which allow us to experience our environment with the perception of ‘tactile nearness’ (Benjamin). Through eco-poetics shaped by ‘inconceivable analogies and connections’ (Benjamin), the author re-imagines a neglected space used as a short-cut on the way to work—the Liverpool Adelphi car park in Liverpool—as “Car Park Beach”. Inspired by the situationists’ slogan ‘Sous les pavés, la plage’, the author argues that Car Park Beach opens up imaginative possibilities for a different form of ecological encounter with our own precarity, one ushered in by a ‘close-up’ awareness of how waste transforms our world. Car Park Beach is a site that the author associates with the drift-like, distracted movements of both people and matter, and this article therefore attempts to deploy an equivalent method of analysis. Drawing on her own practice of gleaning photos and objects on the way to work, the author places a vocabulary of flotsam and jetsam at the axis of her discussion. Allusive, often layered, connections are followed between a diverse range of sources including beachcombing guides, literary memoirs, documentary films, eco-criticism, and auto-ethnography. Full article

Since 2005, a number of European films have emerged examining the legacy of Christianity in Western Europe, and the ways in which men, women and children struggle to negotiate questions of religion and secularity, the personal and the institutional, faith and doubt. This article looks at two of these films—Jessica Hausner’s Lourdes (2009) and Dietrich Brüggemann’s Stations of the Cross (2014)—in relation to questions of religious experience, the female body and film style. In both films the battle between these opposing categories is played out on the bodies of women—a paraplegic MS sufferer in Lourdes, an anorexic teen in Stations of the Cross—and both the films end ambiguously with what may, or may not, be a miracle of sorts: a confirmation of faith or a rebuttal. I wish to connect this ambiguity to the use of a very distinctive mise-en-scene in both films, which relies on a heavily restricted colour palate; highly formalised, painterly-compositions; and crucially what David Bordwell has termed “planimetric photography”: a shooting style that eschews depth or diagonals, refusing the spectator entrance into the image and holding her instead at a deliberate distance. My argument, in short, is that these stylistic choices—while gesturing towards a tradition of Christian art—also refuse the spectator either visual or haptic knowledge of the events that the characters undergo. Rather, they are suggestive of the fundamental unknowability that characterises religious experience, leaving us alone, outside of the action, forced to negotiate ourselves between belief and doubt. Full article