• Journal of Korea Multimedia Society
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• v.13 no.5
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• pp.691-701
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• 2010

We propose a haptic rendering technology for touchable video. Our touchable video technique allows users for feeling the sense of touch while probing directly on 2D objects in video scenes or manipulating 3D objects brought out from video scenes using haptic devices. In our technique, a server sends video and haptic data as well as the information of 3D model objects. The clients receive video and haptic data from the server and render 3D models. A video scene is divided into small grids, and each cell has its tactile information which corresponds to a specific combination of four attributes: stiffness, damping, static friction, and dynamic friction. Users can feel the sense of touch when they touch directly cells of a scene using a haptic device. Users can also examine objects by touching or manipulating them after bringing out the corresponding 3D objects from the screen. Our touchable video technique proposed in this paper can lead us to feel maximum satisfaction the haptic-audio-vidual effects directly on the video scenes of movies or home-shopping video contents.

• Journal of KIISE:Computing Practices and Letters
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• v.13 no.6
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• pp.412-416
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• 2007

In this paper, we present a haptic virtual exhibition space that allows users to interact with 3D graphic objects not only through the sense of sight but also through the sense of touch. The haptic virtual exhibition space offers users in different places some efficient ways to experience the exhibitions of a virtual musical museum using the basic human senses of perception, such as vision, audition, and touch. Depending on 3D graphic objects, we apply different properties to let those feel realistic. We also provide haptic device based navigation which prevents users from rushing between various interfaces: keyboard and mouse. The haptic virtual museum is based on Client-Server architecture and clients are represented in the 3D space in the form of avatars. In this paper, we mainly discuss the design of the haptic virtual exhibition space in detail and in the end, we provide performance analysis in comparison to other similar applications such as QTVR and VRML).

• Journal of KIISE:Computer Systems and Theory
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• v.31 no.12
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• pp.682-691
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• 2004

We present a novel haptic sculpting system where the user intuitively adds to and carves out material from a volumetric model using new sculpting tools in the similar way to handling real clay Haptic rendering and model deformation are implemented based on volumetric implicit surface. We enhance previous volume-based haptic sculpting systems by presenting fast and stable force computation on 3D models to be deformed. In order to bridge the gap between fast haptic process (1 KHz) and much slower visual update frequency(~30Hz), the system generates intermediate implicit surfaces between two consecutive physical models being deformed. It performs collision detection and force computation on the intermediate surface in haptic process. The volumetric model being sculpted is visualized as a geometric model which is adaptively polygonized according to the surface complexity. We also introduce various visual effects for the real-time sculpting system including mesh-based solid texturing, painting, and embossing/engraving techniques.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.116-125
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• 2022

Netflix Original movies have distinctive characteristics in that it is screened online only and viewers have to watch movies using their personal devices. By analyzing the haptic characteristics of Netflix platform from remediation perspective, we examine how Netflix hypermediacy haptic characteristics associated with clicking or touching expand to immediacy haptic characteristics, and compare the differences between Netflix original movie (2020) and film movie (1940). Through this, it points out the connection between the sense of the hand that requires clicking or touching and the description of the hand in Netflix original movie . As the individual interface of the personal device has been adjusted to make it possible to watch movies, the position of the hand becomes important in watching movies, and the hand plays an essential role in the beginning, middle, and end of the movie. Therefore, this study, which focuses on the haptic characteristics of Netflix original movie , is meaningful in that it studied the characteristics of the OTT original movie that was not previously covered and that the haptic characteristic plays an important role in the way of watching OTT contents.

• Journal of Korean Philosophical Society
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• v.145
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• pp.381-407
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• 2018

Gilles Deleuze presents his distinctive logic of sensation in "Francis Bacon: The Logic of Sensation" with his own approach to Bacon's paintings. What matters here is the sensation of 'haptic' that is 'one possibility of the eyes' but different from optical perception. The concept of 'haptic' has been translated into Korean variously, and Gilles Deleuze adopted this concept from Austrian art historian, Alois Riegl. Alois Riegl had used the concept of 'haptic' to mean proximate view (Nahsicht in German) as in seeing Egyptian bas-relief. Gilles Deleuze was in succession to Alois Riegl's way of thinking and used the concept of 'haptic' to discuss Bacon's paintings. By the way, Alois Riegl had adopted this concept anyway to read Egyptian bas-reliefs, but Gilles Deleuze applies this concept to paintings. Actually, this concept in Gilles Deleuze's theory of painting has more meanings than Alois Riegl'. That is to say, when we intend to understand "The Logic of Sensation" as a new logic of sensation to be represented more than just a discussion about Bacon's paintings, we would say that key word is the concept of 'haptic' being symbolic of Bacon's paintings. Yet, what kind of sensation is the 'haptic'? And, what is Deleuze's theory of sensation? I want to interpret "Francis Bacon: The Logic of Sensation" as a work being developed through his own theory of sensation, and further more I should like to draw special attention to the sensation of 'haptic' in order to make his theory of sensation with admirable clarity.

• KIPS Transactions on Software and Data Engineering
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• v.12 no.6
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• pp.275-284
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• 2023

Virtual reality simulations are used for education and training in various fields, and are especially widely used in the medical field recently. The education/training simulator consists of tactile/force feedback generation and image/sound output hardware that provides a sense similar to a doctor's treatment of a real patient using real surgical tools, and software that produces realistic images and tactile feedback. Existing simulators are complicated and expensive because they have to use various types of hardware to simulate various surgical instruments used during surgery. In this paper, we propose a dental surgical simulation system using a force feedback device and a morphable haptic controller. Haptic hardware determines whether the surgical tool collides with the surgical site and provides a sense of resistance and vibration. In particular, haptic controllers that can be deformed, such as length changes and bending, can express various senses felt depending on the shape of various surgical tools. When the user manipulates the haptic feedback device, events such as movement of the haptic feedback device or button clicks are delivered to the simulation system, resulting in interaction between dental surgical tools and oral internal models, and thus haptic feedback is delivered to the haptic feedback device. Using these basic techniques, we provide a realistic training experience of impacted wisdom tooth extraction surgery, a representative dental surgery technique, in a virtual environment represented by sophisticated three-dimensional models.

• Korean Institute of Interior Design Journal
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• v.22 no.6
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• pp.68-78
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• 2013

The purpose of this study is to investigate Seonyudo Park and Kkummaru in terms of haptic space. This is an attempt to escape from the limits of optical space that identifies the space with abstract concepts. Haptic perception of the space refers to feeling the space with all the senses through non-hierarchical interactions. Time of the haptic space is revealed by Deleuze's crystalline description and Bergson's pure recollection that is not useful to identify objects. According to two concepts, the running present forks into the past and the future, and the nature of time appears at the point of indiscernibility in which the past, present, and future coexist. Thought on time about the architecture provides a valid point of view to understand the relationship of visitor's sensory experience of space, recollection, and emotion. In this respect, it can be said that Joh sung-yong's two works explored for new areas of architectural experience by building up the potential image of the subject which is placed in the human memory. And then this study shows that two works recover the relationship between the past and the present so that they give an opportunity to consider the meaning of time in the architecture.

• Journal of Institute of Control, Robotics and Systems
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• v.7 no.1
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• pp.1178-1186
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• 2001

This paper presents design and analysis of a 6 degree-of-freedom new haptic device using a par-allel mechanism for interfacing with virtual reality. The mechanism is composed of three pantograph mecha-misms that, driven by ground-fixed servomotors. stand perpendicularly to the base plate. Three spherical joints connect the top of the pantograph with connecting bars, and three revolute joint connect connecting bars with a mobile joystick handle. Forward and inverse kinematic analyses have been performed and the Jacobian matrix is derived by using the screw theroy. Performance indices such as GPI(Global Payload Index), GCI(Global Conditioning index), Traslation and Orientation workspaces, and Sensitivity are evaluated to find optimal pa-rameters in the design stage. The proposed haptic mechanism has better load capability than those of the ex-isting haptic mechanisms due to the fact that motors are fixed at the base. It has also wider orientation work-space mainly due to RRR type spherical joints.

• Korean Journal of Computational Design and Engineering
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• v.9 no.4
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• pp.277-285
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• 2004

In this paper, a 2 DOF haptic yawing joystick for use as the navigation input device in virtual environments is introduced. The haptic yawing joystick has 360° range for yawing motion and ±100° for pitching motion. The device can support weights of up to 26N for χ axis and 10N for axis with 10kHz of sampling rate. The size of the haptic yawing joystick is so small that it can be assembled on armrest of an arm chair and has relatively larger work space than other conventional 2 DOF joysticks. For the haptic yawing joystick, an ellipse navigation algorithm using the user's velocity in the virtual navigation is proposed. The ellipse represents the velocity of the user. According to the velocity of the navigator, the ellipse size is supposed to be changed. Since the path width of navigation environments is limited, the ellipse size is also limited. The ellipse navigation algorithm is tested in 2 dimensional virtual environments. The test results show that the average velocity of the navigation with the algorithm is faster than the average navigation velocity without the algorithm.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.251-256
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• 2006

본 논문에서는 분산 촉각 가상 환경(DHVE; Distributed Haptic Virtual Environments)에서 촉각(haptic) 데이터가 어느 정도의 네트워크 트래픽을 가지며 또 효율적으로 통신 하는지에 대하여 실험하고 그 결과를 기술한다. 본 연구에서 제시하는 실험 데이터는 차세대 인터페이스로 떠오르는 촉각 장치의 높은 전송량과 실시간성을 요구하는 데이터가 분산 환경에서 서비스될 때 어떤 문제점을 가지는지에 대한 실질적이고 의미 있는 자료로 활용될 수 있을 것이다. 본 논문을 통해 우리는 기존의 분산 가상 환경들의 주요 논쟁점인 확장성(scalability), 안정성(safety) 등이 촉각 가상 환경에서는 어떻게 달라지는지 예측하고, 분산 가상 환경에서의 촉각 장치 활용의 유용성, 효율적인 네트워크 사용 방법, 촉각 기반 가상 환경이 구동될 수 있는 최저의 조건에 대해 고찰해 볼 수 있다. 본 논문은 차세대 인터페이스인 촉각 장치를 기존의 시스템에 안정적으로 추가하는 작업에 도움을 주며, 미래의 실감형 네트워크 가상 현실(Immersive Network Virtual Environment) 연구에 기초자료로 활용할 수 있을 것이다.