The silence of objects : forming the unsayable

The silence of objects phenomenologically explores the experience and memory of trauma through object-based artwork. It springs from a desire to map difficult psychological terrain and does so by tracking the process of a coming into 'expression' to communicate notions of loss, detachment and powerlessness. It maps a journey from silence to a forming 'voice' that gives shape to the unsayable. This practice-led research is multifaceted. Whilst the creative element uses transformed objects as material metaphors to tap into the sensory and affective operations of art, the written component blends reflection with theory and is informed by art theorists Jill Bennett and Mignon Nixon. By establishing a dialogue between theoretical constructs and creative works I consider how giving form to deep consciousness can counter the effects of trauma manifest as silence and invisibility.

Intimité et sensations dans les films d'animation en volume de Girlin Bassovskaja

Peu satisfaite des concepts généralement mentionnés lorsqu’il s’agit d’écrire sur les films réalisés en stop-motion, je propose d’analyser un corpus de quatre films réalisés par un duo estonien peu connu, les réalisatrices Jelena Girlin et Mari-Liis Bassovskaja, en ancrant mon discours dans une recherche plus large sur l’intimité et la sensorialité en art. J’effleure, par l’entremise d’une revue de littérature, le paradoxe d’animer l’inanimé et l’idée du umheimlich freudien, prégnants dans les écrits substantiels autour du cinéma d’animation en volume. Après avoir démontré que l’œuvre de Girlin Bassovskaja s’incrit dans le domaine de l’intime, j’approfondis l’analyse en m’appuyant sur les théories de la visualité haptique appliquée aux films. Je découvre le corpus à la lumière de ces théories, et évoque l’idée du regard caressant du spectateur vers le film, mais aussi de sa réversibilité. De plus, en tant que réalisatrice-animatrice de court-métrages d’animation, les théories susmentionnées outillent ma pensée afin de décrire ma volonté quasi obsessionnelle de rendre l’intimité tangible par une animation sensuelle en pâte à modeler sur verre.

Intimité et sensations dans les films d'animation en volume de Girlin Bassovskaja

Peu satisfaite des concepts généralement mentionnés lorsqu’il s’agit d’écrire sur les films réalisés en stop-motion, je propose d’analyser un corpus de quatre films réalisés par un duo estonien peu connu, les réalisatrices Jelena Girlin et Mari-Liis Bassovskaja, en ancrant mon discours dans une recherche plus large sur l’intimité et la sensorialité en art. J’effleure, par l’entremise d’une revue de littérature, le paradoxe d’animer l’inanimé et l’idée du umheimlich freudien, prégnants dans les écrits substantiels autour du cinéma d’animation en volume. Après avoir démontré que l’œuvre de Girlin Bassovskaja s’incrit dans le domaine de l’intime, j’approfondis l’analyse en m’appuyant sur les théories de la visualité haptique appliquée aux films. Je découvre le corpus à la lumière de ces théories, et évoque l’idée du regard caressant du spectateur vers le film, mais aussi de sa réversibilité. De plus, en tant que réalisatrice-animatrice de court-métrages d’animation, les théories susmentionnées outillent ma pensée afin de décrire ma volonté quasi obsessionnelle de rendre l’intimité tangible par une animation sensuelle en pâte à modeler sur verre.

Por baixo da pele outra pele: conjunto de obras artísticas. Corpo, ecrã e interface para uma visualidade háptica interativa

A tese teórico-prática de doutoramento apresentada contempla a investigação, a criação, a produção e a conceptualização da instalação artística interativa intitulada Por baixo da pele outra pele. A Obra é constituída por três objetos tridimensionais concebidos à escala humana. Recorre a materiais flexíveis, como têxteis, convidando o público (interator), à envolvência física, numa relação corporal sensorial e sensual com a obra. Os objetos contêm dispositivos técnicos interativos e sensores tácteis, que, ao serem utilizados, desencadeiam estímulos multissensoriais no espectador. A instalação interativa focaliza a experiência háptica e íntima do interator considerando os seus mecanismos sensoriais e cognitivos como um potencial aparato na construção de experiências fenomenológicas, singulares e individuais. A autora considera a interatividade enquanto elemento potenciador da experiência estética visual háptica. Na argumentação conceitual da obra, reflete-se sobre o tema da visualidade háptica interativa a partirdos conceitos de ecrã, corpo e interface, assim como de endossensorialidade. Instrumentam-se metodologias de investigação em ação, experimentais e observacionais. Apresentam-se os processos investigativos, criativos e técnicos necessários ao desenvolvimento e à materialização da instalação artística. A investigação revela-se de grande interesse para o avanço da pesquisa de novas linguagens experimentais apresentando estratégias de criação artística que, ao privilegiarem o corpo físico e fenomenológico do interator, transpõe a experiência háptica interativa para um grau interno de imersão motoro-sensorial; Underneath the skin another skin: art installation. Body, screen and interface towards an interactive haptic visuality. Abstract: The theoretical-practical doctorate dissertation presents the research and conceptual framework behind, and the processes leading to, the creation and production of the interactive installation art piece Underneath the skin, another skin. The piece is presented in the shape of three human-scale tridimentional objects. It is made from flexible materials, such as textiles, inviting the (interacting) audience, to physically engage in a bodily sensorial, and sensuous, relationship with the artwork. The objects enclose interactive devices and tactile sensors that, when used, trigger in the interactor multiple sensorial stimuli. The interactive installation focuses on the interactor's intimate haptic experience taking in consideration his or hers sensorial and cognitive mechanisms as a potential apparatus in the construction of unique individual phenomenological experiences. The author understands interactivity as a triggering element into an haptic visual aesthetical experience. The supporting conceptual reasoning deals with thought and criticism on interactive haptic visuality applied to the concepts of screen, body and interface, as well as with that of endo-sensoriality. The dissertation describes the use of experimental and observation research methodologies. It also elaborates on the research, creative and technical processes at play in the installation's development and realization. The research at hand has shown great potential for the further development of new experimental languages, as it presents art-creation strategies privileging the interactor's physical and phenomenological body, and thus able to take the interactive haptic experience onto an greater inner level of motor-sensorial immersion.

A Novel Approach to Haptic Tele-operation of Aerial Robot Vehicles

We present a novel, simple and effective approach for tele-operation of aerial robotic vehicles with haptic feedback. Such feedback provides the remote pilot with an intuitive feel of the robot’s state and perceived local environment that will ensure simple and safe operation in cluttered 3D environments common in inspection and surveillance tasks. Our approach is based on energetic considerations and uses the concepts of network theory and port-Hamiltonian systems. We provide a general framework for addressing problems such as mapping the limited stroke of a ‘master’ joystick to the infinite stroke of a ‘slave’ vehicle, while preserving passivity of the closed-loop system in the face of potential time delays in communications links and limited sensor data

Grounding action in visuo-haptic space using experience networks

Traditional approaches to the use of machine learning algorithms do not provide a method to learn multiple tasks in one-shot on an embodied robot. It is proposed that grounding actions within the sensory space leads to the development of action-state relationships which can be re-used despite a change in task. A novel approach called an Experience Network is developed and assessed on a real-world robot required to perform three separate tasks. After grounded representations were developed in the initial task, only minimal further learning was required to perform the second and third task.

Multisensory integration weightings underlying haptic feedback laparoscopic surgery

"This letter aims to highlight the multisensory integration weighting mechanisms that may account for the results in studies investigating haptic feedback in laparoscopic surgery. The current lack of multisensory theoretical knowledge in laparoscopy is evident, and “a much better understanding of how multimodal displays in virtual environments influence human performance is required” ...publisher website

Attunement to haptic information helps skilled performers select implements for striking a ball in cricket

This study examined the perceptual attunement of relatively skilled individuals to physical properties of striking implements in the sport of cricket. We also sought to assess whether utilising bats of different physical properties influenced performance of a specific striking action: the front foot straight drive. Eleven, skilled male cricketers (mean age = 16.6 ± 0.3 years) from an elite school cricket development programme consented to participate in the study. Whist blindfolded, participants wielded six bats exhibiting different mass and moment of inertia (MOI) characteristics and were asked to identify their three most preferred bats for hitting a ball to a maximum distance by performing a front foot straight drive (a common shot in cricket). Next, participants actually attempted to hit balls projected from a ball machine using each of the six bat configurations to enable kinematic analysis of front foot straight drive performance with each implement. Results revealed that, on first choice, the two bats with the smallest mass and MOI values (1 and 2) were most preferred by almost two-thirds (63.7%) of the participants. Kinematic analysis of movement patterns revealed that bat velocity, step length and bat-ball contact position measures significantly differed between bats. Data revealed how skilled youth cricketers were attuned to the different bat characteristics and harnessed movement system degeneracy to perform this complex interceptive action.

Gestural, emergent and expressive : three research themes for haptic interaction

Drawing on three case studies of work in the fields of participatory design, interaction design and electronic arts, we reflect on the implications of these studies for haptic interface research. We propose three themes: gestural; emergent; and expressive; as signposts for a program of research into haptic interaction that could point the way towards novel approaches to haptic interaction and move us from optic to haptic ways of seeing.

Intercontinental haptic teleoperation of a flying vehicle : a step towards real-time applications

This paper describes the theory and practice for a stable haptic teleoperation of a flying vehicle. It extends passivity-based control framework for haptic teleoperation of aerial vehicles in the longest intercontinental setting that presents great challenges. The practicality of the control architecture has been shown in maneuvering and obstacle-avoidance tasks over the internet with the presence of significant time-varying delays and packet losses. Experimental results are presented for teleoperation of a slave quadrotor in Australia from a master station in the Netherlands. The results show that the remote operator is able to safely maneuver the flying vehicle through a structure using haptic feedback of the state of the slave and the perceived obstacles.

Intrinsic frames of reference in haptic spatial learning

It has been proposed that spatial reference frames with which object locations are specified in memory are intrinsic to a to-be-remembered spatial layout (intrinsic reference theory). Although this theory has been supported by accumulating evidence, it has only been collected from paradigms in which the entire spatial layout was simultaneously visible to observers. The present study was designed to examine the generality of the theory by investigating whether the geometric structure of a spatial layout (bilateral symmetry) influences selection of spatial reference frames when object locations are sequentially learned through haptic exploration. In two experiments, participants learned the spatial layout solely by touch and performed judgments of relative direction among objects using their spatial memories. Results indicated that the geometric structure can provide a spatial cue for establishing reference frames as long as it is accentuated by explicit instructions (Experiment 1) or alignment with an egocentric orientation (Experiment 2). These results are entirely consistent with those from previous studies in which spatial information was encoded through simultaneous viewing of all object locations, suggesting that the intrinsic reference theory is not specific to a type of spatial memory acquired by the particular learning method but instead generalizes to spatial memories learned through a variety of encoding conditions. In particular, the present findings suggest that spatial memories that follow the intrinsic reference theory function equivalently regardless of the modality in which spatial information is encoded.

Extending visual perception with haptic exploration for improved scene understanding

Scene understanding has been investigated from a mainly visual information point of view. Recently depth has been provided an extra wealth of information, allowing more geometric knowledge to fuse into scene understanding. Yet to form a holistic view, especially in robotic applications, one can create even more data by interacting with the world. In fact humans, when growing up, seem to heavily investigate the world around them by haptic exploration. We show an application of haptic exploration on a humanoid robot in cooperation with a learning method for object segmentation. The actions performed consecutively improve the segmentation of objects in the scene.

Rendering stiffer walls: a hybrid haptic system using continuous and discrete time feedback

Instability in conventional haptic rendering destroys the perception of rigid objects in virtual environments. Inherent limitations in the conventional haptic loop restrict the maximum stiffness that can be rendered. In this paper we present a method to render virtual walls that are much stiffer than those achieved by conventional techniques. By removing the conventional digital haptic loop and replacing it with a part-continuous and part-discrete time hybrid haptic loop, we were able to render stiffer walls. The control loop is implemented as a combinational logic circuit on an field-programmable gate array. We compared the performance of the conventional haptic loop and our hybrid haptic loop on the same haptic device, and present mathematical analysis to show the limit of stability of our device. Our hybrid method removes the computer-intensive haptic loop from the CPU-this can free a significant amount of resources that can be used for other purposes such as graphical rendering and physics modeling. It is our hope that, in the future, similar designs will lead to a haptics processing unit (HPU).

Haptic Feedback for Injecting Biological Cells using Miniature Compliant Mechanisms

We present a real-time haptics-aided injection technique for biological cells using miniature compliant mechanisms. Our system consists of a haptic robot operated by a human hand, an XYZ stage for micro-positioning, a camera for image capture, and a polydimethylsiloxane (PDMS) miniature compliant device that serves the dual purpose of an injecting tool and a force-sensor. In contrast to existing haptics-based micromanipulation techniques where an external force sensor is used, we use visually captured displacements of the compliant mechanism to compute the applied and reaction forces. The human hand can feel the magnified manipulation force through the haptic device in real-time while the motion of the human hand is replicated on the mechanism side. The images are captured using a camera at the rate of 30 frames per second for extracting the displacement data. This is used to compute the forces at the rate of 30 Hz. The force computed in this manner is sent at the rate of 1000 Hz to ensure stable haptic interaction. The haptic cell-manipulation system was tested by injecting into a zebrafish egg cell after validating the technique at a size larger than that of the cell.

Issues in Achievement of Haptic Realism

This paper deals with haptic realism related to Kinematic capabilities of the devices used in manipulation of virtual objects in virtual assembly environments and its effect on achieving haptic realism. Haptic realism implies realistic touch sensation. In virtual world all the operations are to be performed in the same way and with same level of accuracy as in the real world .In order to achieve realism there should be a complete mapping of real and virtual world dimensions. Experiments are conducted to know the kinematic capabilities of the device by comparing the dimensions of the object in the real and virtual world. Registered dimensions in the virtual world are found to be approximately 1.5 times that of the real world. Dimensional variations observed were discrepancy due to exoskeleton and discrepancy due to real and virtual hands. Experiments are conducted to know the discrepancy due to exoskeleton and this discrepancy can be taken care of by either at the hardware or software level. A Mathematical model is proposed to know the discrepancy between real and virtual hands. This could not give a fixed value and can not be taken care of by calibration. Experiments are conducted to figure out how much compensation can be given to achieve haptic realism.