Realistic grasping of rigid virtual objects through event-based haptics

This research presents a novel haptic grasping interface and demonstrates its ability within multi-point event-based feedback. Through experimental methodology, the dynamics involved in grasp contact interactions are modelled based on first principles. The proposed approach demonstrates a method of realistically representing grasp contact with rigid virtual objects through multi-point interaction.

Grasping virtual objects with multi-point haptics

The majority of commercially available haptic devices offer a single point of haptic interaction. These devices are limited when it is desirable to grasp with multiple fingers in applications including virtual training, telesurgery and telemanipulation. Multipoint haptic devices serve to facilitate a greater range of interactions. This paper presents a gripper attachment to enable multi-point haptic grasping in virtual environments. The approach employs two Phantom Omni haptic devices to independently render forces to the user's thumb and other fingers. Compared with more complex approaches to multi-point haptics, this approach provides a number of advantages including low-cost, reliability and ease of programming. The ability of the integrated multi-point haptic platform to interact within a CHAI 3D virtual environment is also presented.

A multi-point haptic platform for grasping and manipulating virtual objects

This work presents a multi-point haptic platform that employs two Phantom Omni haptic devices. A gripper attachment connects to both devices and enables multi-point haptic grasping in virtual environments. In contrast to more complex approaches, this setup benefits from low-cost, reliability, and ease of programming while being capable of independently rendering forces to each of the user’s fingertips. The ability to grasp with multiple points potentially lends itself to applications such as virtual training, telesurgery and telemanipulation.

Unimanual and Bimanual Weight Perception of Virtual Objects with a new Multi-finger Haptic Interface

Accurate weight perception is important particularly in tasks where the user has to apply vertical forces to ensure safe landing of a fragile object or precise penetration of a surface with a probe. Moreover, depending on physical properties of objects such as weight and size we may switch between unimanual and bimanual manipulation during a task. Research has shown that bimanual manipulation of real objects results in a misperception of their weight: they tend to feel lighter than similarly heavy objects which are handled with one hand only [8]. Effective simulation of bimanual manipulation with desktop haptic interfaces should be able to replicate this effect of bimanual manipulation on weight perception. Here, we present the MasterFinger-2, a new multi-finger haptic interface allowing bimanual manipulation of virtual objects with precision grip and we conduct weight discrimination experiments to evaluate its capacity to simulate unimanual and bimanual weight. We found that the bimanual ‘lighter’ bias is also observed with the MasterFinger-2 but the sensitivity to changes of virtual weights deteriorated.

The laws of the virtual worlds

What if you could check out of your world, and enter a place where the social environment was different, where real world laws didn't apply, and where the political system could be anything you wanted it to be? What if you could socialize there with family and friends, build your own palace, go skiing, and even hold down a job there? And what if there wasn't one alternate world, there were hundreds, and what if millions of people checked out of Earth and went there every day? Virtual worlds - online worlds where millions of people come to interact, play, and socialize - are a new type of social order. In this Article, we examine the implications of virtual worlds for our understanding of law, and demonstrate how law affects the interests of those within the world. After providing an extensive primer on virtual worlds, including their history and function, we examine two fundamental issues in detail. First, we focus on property, and ask whether it is possible to say that virtual world users have real world property interests in virtual objects. Adopting economic accounts that demonstrate the real world value of these objects and the exchange mechanisms for trading these objects, we show that, descriptively, these types of objects are indistinguishable from real world property interests. Further, the normative justifications for property interests in the real world apply - sometimes more strongly - in the virtual worlds. Second, we discuss whether avatars have enforceable legal and moral rights. Avatars, the user-controlled entities that interact with virtual worlds, are a persistent extension of their human users, and users identify with them so closely that the human-avatar being can be thought of as a cyborg. We examine the issue of cyborg rights within virtual worlds and whether they may have real world significance. The issues of virtual property and avatar rights constitute legal challenges for our online future. Though virtual worlds may be games now, they are rapidly becoming as significant as real-world places where people interact, shop, sell, and work. As society and law begin to develop within virtual worlds, we need to have a better understanding of the interaction of the laws of the virtual worlds with the law of this world.

co-creativepen toolkit: a pen-based 3d toolkit for children cooperatly designing virtual environment

Co-CreativePen Toolkit is a pen-based 3D toolkit for children cooperatly designing virtual environment. This toolkit is used to construct different applications involved with distributedpen-based 3D interaction. In this toolkit,sketch method is encapsulated as kinds of interaction techniques. Children can use pen to construct 3D and IBR objects, to navigate in the virtual world, to select and manipulate virtual objects, and to communicate with other children. Children can use pen to select other children in the virtual world, and use pen to write message to children selected The distributed architecture of Co-CreativePen Toolkit is based on the CORBA. A common scene graph is managed in the server with several copies of this graph are managed in every client.Every changes of the scene graph in client will cause the change in the server and other client.

Providing QoS for networked peers in distributed haptic virtual environments

Haptic information originates from a different human sense (touch), therefore the quality of service (QoS) required to supporthaptic traffic is significantly different from that used to support conventional real-time traffic such as voice or video. Each type ofnetwork impairment has different (and severe) impacts on the user’s haptic experience. There has been no specific provision of QoSparameters for haptic interaction. Previous research into distributed haptic virtual environments (DHVEs) have concentrated onsynchronization of positions (haptic device or virtual objects), and are based on client-server architectures.We present a new peerto-peer DHVE architecture that further extends this to enable force interactions between two users whereby force data are sent tothe remote peer in addition to positional information. The work presented involves both simulation and practical experimentationwhere multimodal data is transmitted over a QoS-enabled IP network. Both forms of experiment produce consistent results whichshow that the use of specific QoS classes for haptic traffic will reduce network delay and jitter, leading to improvements in users’haptic experiences with these types of applications.

Eye tracking and gaze based interaction within immersive virtual environments

Our eyes are input sensors which Provide our brains with streams of visual data. They have evolved to be extremely efficient, and they will constantly dart to-and-fro to rapidly build up a picture of the salient entities in a viewed scene. These actions are almost subconscious. However, they can provide telling signs of how the brain is decoding the visuals and call indicate emotional responses, prior to the viewer becoming aware of them. In this paper we discuss a method of tracking a user's eye movements, and Use these to calculate their gaze within an immersive virtual environment. We investigate how these gaze patterns can be captured and used to identify viewed virtual objects, and discuss how this can be used as a, natural method of interacting with the Virtual Environment. We describe a flexible tool that has been developed to achieve this, and detail initial validating applications that prove the concept.

Estimation of distances in virtual environments using size constancy

It is reported in the literature that distances from the observer are underestimated more in virtual environments (VEs) than in physical world conditions. On the other hand estimation of size in VEs is quite accurate and follows a size-constancy law when rich cues are present. This study investigates how estimation of distance in a CAVETM environment is affected by poor and rich cue conditions, subject experience, and environmental learning when the position of the objects is estimated using an experimental paradigm that exploits size constancy. A group of 18 healthy participants was asked to move a virtual sphere controlled using the wand joystick to the position where they thought a previously-displayed virtual cube (stimulus) had appeared. Real-size physical models of the virtual objects were also presented to the participants as a reference of real physical distance during the trials. An accurate estimation of distance implied that the participants assessed the relative size of sphere and cube correctly. The cube appeared at depths between 0.6 m and 3 m, measured along the depth direction of the CAVE. The task was carried out in two environments: a poor cue one with limited background cues, and a rich cue one with textured background surfaces. It was found that distances were underestimated in both poor and rich cue conditions, with greater underestimation in the poor cue environment. The analysis also indicated that factors such as subject experience and environmental learning were not influential. However, least square fitting of Stevens’ power law indicated a high degree of accuracy during the estimation of object locations. This accuracy was higher than in other studies which were not based on a size-estimation paradigm. Thus as indirect result, this study appears to show that accuracy when estimating egocentric distances may be increased using an experimental method that provides information on the relative size of the objects used.

Extending haptic device capability for 3D virtual grasping

This paper presents an investigation into the workspace constraints observed through the use of multiple single point haptic interfaces, which lead to the design of a novel grasping device that improves upon current commercial haptic interfaces. The presented device is desktop based, and has been designed to maximise the haptic workspace while offering the ability to grasp and manipulate virtual objects, which is a function that current commercial interfaces are limited in providing. The performance of the commercial haptic interface in producing sustained effective operation and increased workspace with the attached haptic gripper is evaluated, and the improvement of both has been determined.

O aprimoramento de um software de estúdio virtual por meio de técnicas de matting digital e registro de objetos virtuais

A virtual studio system can use technologies as augmented reality and digital matting to decrease production costs at the same time it provides the same resources of a conventional studio. With this, it’s possible for the current studios, with low cost and using conventional devices, to create productions with greater image quality and effects. Some difficulties are recurrent in virtual studio applications that use augmented reality and digital matting. The virtual objects registration in augmented reality techniques suffer from problems caused by optical distortions in the camera, errors in the marker tracking system, lack of calibration on the equipments or on the environment (lighting, for example), or even by delays in the virtual objects display. On the other hand, the digital matting’s main problem is the real-time execution to preview the scene, which must have optimized processing speed at the same time while maintain the best image quality possible. Taking the given context into consideration, this work aims to give continuity to a virtual studio system called ARStudio, by enhancing digital matting, virtual objects registration and introducing a segmentation based on depth map, yet adding better control over functionalities previously implemented

ARSTUDIO: estúdio virtual para produção de conteúdos audiovisuais em realidade aumentada para a TV Digital

“Virtual Studio” is a system developed for the creation of virtual sets, as well as any threedimensional virtual objects that can be digitally integrated to the scenes captured on a real television studio. Through techniques such as chroma-key, computer graphics , augmented reality and virtual reality is possible flexibility in producing content for digital TV, reduce cost and meet 12.485/2011 law, the Brazilian “Law of Pay TV”, which has among its objectives “to increase the production and circulation of diverse and quality Brazilian audiovisual content, generating jobs, income, royalties, professionalism and strengthening of national culture” (ANCINE , Brazilian Nacional Cinema Agency ). Based on this background, an overview of the benefits of using the technologies mentioned for the production of content for digital television is presented. This work involves the development of a system of Interactive Virtual Studio called ARSTUDIO per team of researchers from the Posgraduate Program in Digital Television: Information and Knowledge at UNESP, São Paulo State University in Bauru, State of São Paulo, Brazil.

ARSTUDIO: estúdio virtual para produção de conteúdos audiovisuais em realidade aumentada para TV digital

Virtual Studio is a system developed for the creation of virtual sets , as well as any three-dimensional virtual objects that can be digitally integrated to the scenes captured on a real television studio . Through techniques such as chroma-key , computer graphics , augmented reality and virtual reality is possible flexibility in producing content for digital TV , reduce cost and meet 12.485/2011 law , the Brazilian Law of Pay TV , which has among its objectives to increase the production and circulation of diverse and quality Brazilian audiovisual content, generating jobs, income , royalties, professionalism and strengthening of national culture (ANCINE , Brazilian Nacional Cinema Agency ). Based on this background , an overview of the benefits of using the technologies mentioned for the production of content for digital television is presented . This work involves the development of a system of Interactive Virtual Studio called ARSTUDIO per team of researchers from the Posgraduate Program in Digital Television: Information and Knowledge at UNESP , São Paulo State University in Bauru , State of São Paulo, Brazil .