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Transcript of Touching Tools
“Of, pertaining to, or relating to the sense of touch or tactile sensations” (OED 1989, 2nd Ed.) technologies of touch multi-touch HTC Touch
June 2007 Apple iPhone
June 2007 Project 2001
Unveiled May 2007 Jeff Han
Late 2006 haptics: engineering a sense of touch in design, videogames, industrial applications through... SensAble PHANToM
Massie & Salisbury
1993 The haptic system […] is an apparatus by which the individual gets information about both his environment and his body. He feels an object relative to the body and the body relative to an object. It is the perceptual system by which animals and men are literally in touch with the environment.
(Gibson 1968:98) touch & the human-computer interface [HCI] Technē is the name not only for the activities and skills of the craftsman but also for the arts of the mind and the fine arts. Technē belongs to bringing-forth, to poēisis; it is something poietic (Heidegger) ReachIn Desktop
2008 'force feedback' Sony 'DualShock' (1998) Nintendo 64 'Rumble Pak' (1997) Virtual tools, virtual crafts FreeForm modelling software for designers, for production or rapid prototyping Videogame controllers Xbox 360 controller (2005) Traditional GUI and keyboard/mouse input: “very user-unfriendly and completely inadequate for creating organic, free-form shapes” (Stone)
Digital design, naturalistic interaction... design with an 'undo' button SensAble PHANToM
Modelling through touch
Sculpting with virtual clay
'Virtual prototyping' 1963/1964, Douglas C. Engelbart and William English at the Stanford Research Institute (SRI) work on different pointing devices for computer systems. William English moved to Xerox Palo Alto Research Center (PARC), where the ball mouse was developed. First used in the Xerox Alto in 1973. Electric motors with uneven weight spin, triggered by particular onscreen events
The controller sticks vibrate in set patterns (for driving, shooting, flying, skating...)
Probably present in your mobile phone Visuo-haptic collation:
overlay of graphic onto haptic display
Videogame design Personal Haptic iNTerface Mechanism
6 degrees of freedom
Reflecting forces within a 3D desktop space Increasingly computing shows promise of becoming the medium that could reunite visual thinking with manual dexterity and practiced knowledge. (McCullough p.50) The addition of the sense of touch allows a sense of the “direct manipulation” of objects, where “the user makes things happen in an immediate […] way” (Johnson 1997:179), and therefore a sense of being immersed, of being engaged upon the task at hand. ‘virtual sculpting’ through haptic digital design is virtualising and revitalising sectors of the ceramics industry.
‘virtual prototyping’ in context of industrial design, meaning that innovative designs can be moulded and tried. Shortens the production cycle. The 'transatlantic handshake' between MIT Boston and UCL London
Feeling 'presence' of a virtual object at a distance
Being 'digitally accomplished' in that place, wherever that place is - e.g. telesurgery the return of the body - haptic experience, proximal and distal
from GUI to TUI to skin as interface
the BrainPort™ lollipop (tactile-visual subsitution system)
Gesture-based HCI - movement (Sony Move, Microsoft Natal, Nintendo Wii) - foregrounding kinaesthesia and proprioception To handle virtual replicas of museum objects
Participate in the sensory worlds of the past
Offers new forms of accessibility, e.g. visually impaired
Rare chance to handle virtual replicas of these rare and fragile objects
Modelling a large collection of virtual rather than real objects
Bringing the museum to those unable to visit 'touching the untouchable'
increasing access to virtual artefacts through virtual handling On seeing a textile it is natural to wish to handle it - the characteristic mechanical and surface properties of textiles are best understood by manipulation. Hence archaeological textiles are a particularly good choice of artefact for virtual handling. Current haptic interface technology is particularly suited to represent light, flexible objects such as textiles. From graphical user interface (GUI) to tangible user interface (TUI) An applied artist’s instinctive grasp of constructing and visualising in three dimensions, their spatial thinking and sense of touch are integral to their process of creativity. Makers combine all their sensory modalities, such as sight, hand motions, and sound in order to explore and bring intended qualities to the object they are making. (Shillito et al., 2001a:196) Argonne Remote Manipulator (ARM)
c.1967 Touching at a distance www.sensesoftouch.co.uk Dr. Mark Paterson, University of Exeter proprioception
vestibular system Where next for haptics?