• Design Convergence Study
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• v.14 no.5
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• pp.47-56
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• 2015

People often use haptic experience as a basis for their preference decisions and value judgments, assuming that haptic experience with a product results from the properties of the products. However, research has suggested that unplanned haptic experience, which does not arise from the properties of the product itself, can also influence people's preference and value evaluation (Ackerman, Nocera, & Bargh, 2010). In this study, in order to verify (1) if such unplanned or accidental haptic experience changes user's cognitive tendency and (2) if accidental haptic experience leads to misattribution of the cause of haptic experience, two hypotheses were suggested and empirically investigated. Participants of the experiment were exposed to certain products on a display of a tablet PC and asked to decide on the maximum price they were willing to pay for each product. The products displayed on the screen were made up of either soft material or hard material. Results of the experiment revealed that accidental haptic experience had an effect on participants' value evaluation of products via altering their cognitive inclinations. Possible applicability of accidental haptic experiences that occur in various situations were discussed.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.229-239
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• 2015

The 21st century is a multiplication age and social and cultural phenomena have become diverse and peoples' desires and individuality have become important. Accordingly, the sensibility that reflects human taste is also required in the exhibition space. The exhibitions in this age induce the direct cognition of senses or take interactive forms that contact diverse media and react. The purpose of this research is to define the concept of haptic presentation method in which the audience perceive in the exhibition space by themselves and the visual elements spread into other senses and perceive complexly, and to present the directional nature. To conduct this research, first, this researcher recognized that haptic sensory experiential research by analyzing the roles and transition history of exhibition space is needed for the present age Second, based on philosophical theories, four haptic sensory expression characteristics (medium nature, experiential nature, attractiveness, sensitiveness) were derived by substituting Giles Deleuze's four haptic spatial characteristics (grasping short distance, dispersed gaze, cognition of bodily movement, formation of synesthesia through complex senses) and six formative factors of exhibition space (space, form, size, light, quality of materials, and color). And the effective exhibition presentation methods were analyzed through six cases of experiential exhibition spaces. Accordingly, what matters in the experiential exhibition space is to produce the four characteristics: medium nature, experientiality, attractiveness, and sensitiveness in equilibrium. It is necessary for the designers to reflect it appropriately in producing so that the audience can think and experience by themselves. Accordingly, in this thesis, it could be seen that to produce the haptic production characteristics in the experiential exhibition space in equilibrium is the important factor in the experiential exhibition space. In conclusion, experiences in the exhibition space should be approached with the transcendental haptic presentation method by which even the space of actually unexperienced cognition can be expanded and experienced through the metastasis and tension of various senses. Also, researches on such senses should be developed continuously, and this researcher expects that this will become a stimulant to present a new directivity.

• The Journal of Korea Robotics Society
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• v.14 no.2
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• pp.150-156
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• 2019

Haptic systems have been widely used for both virtual reality and augmented reality application including game, entertainment, education and medical sectors. Clothing designers and retailers initiated using AR and VR technologies to help the consumers find style with the perfect fit. Most of the developed augmented reality shopping is implemented by overlapping the image of the clothes on the customer so that he/she can find the fit. However, those are only visual information and the customer cannot experience the real size and the stiffness of the clothes. In this paper, we present the haptic upper garment which provides the haptic feedback to the user using cables. By controlling the length of the cable, the size of the clothes is set and by stiffness control, the compliance of the fabric is implemented. The haptic garment is modeled for precise control and the distributed controller architecture is described. With the haptic upper garment, the user's experience of the virtual clothes is greatly enhanced.

• The Research Journal of the Costume Culture
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• v.28 no.5
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• pp.705-718
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• 2020

The goal of this study was to develop a haptic communication system that can convey the tactile sensation of fashion materials in a virtual environment. In addition, the effectiveness and how realistically the virtual fabric image of this system delivers the tactile sensation of actual fabric was verified. First, a literature review was conducted through which the tactile attributes of fashion materials were defined that would be implemented in the haptic communication system. Then, a questionnaire for evaluating the tactile attributes of fashion materials was developed. Next, a haptic communication system was designed to convey fashion image experiences in a virtual environment, from which a haptic rendering model was suggested. The effectiveness of the haptic communication system was evaluated by verifying user experiences with questions developed through a user evaluation experiment. The validity of the evaluation questions pertaining to the tactile attributes and the effects of the haptic communication system were verified. Factor analysis was conducted to verify the evaluation of the tactile sense attributes of the fashion material, which identified density, thickness, and elasticity of the material as key factors. As a result of comparisons between the tactile sense through haptic characteristics and through touching, it was observed that regarding density and thickness, tactile sense experience led to greater perceived reality, while this was not the case for elasticity.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.401-411
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• 2019

Non-contact judgment and evaluation for products are increasingly needed along with a rapid environmental change in fashion that sows urgency in the need to implement services that allows users to judge and experience a tactile sense in a fashion product without actual contact. Technological development is required to provide users with syn-aesthetic experiences that integrate the visual, tactile and the auditory. There is also a need to conduct research to increase immersion that provides users with ICT-related experiences communicated through fashion images. The study analyzed demands for haptic communication technology by Korean users in immersive VR fashion product shopping. Accordingly, it defined haptic communication through literature research, investigated immersion in the VR environment and conducted in-depth interviews for haptic communication applicable to VR shopping. Findings show that hedonic reactions by fantasy, emotion and fun function are an important motive in selecting VR shopping. VR fashion product shopping steps were divided into 4: move to store, search in store, search of product and purchase based on offline store shopping experience. It defined the haptic communication by steps and analyzed the types of the haptic feedback to be implemented. The study results provide basic data for developing haptic communication technology that can enhance e a sense of the presence and immersion experiences that can help lay a groundwork for pilot studies on the convergence of the virtual and the real.

• Journal of the Korean Society of Clothing and Textiles
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• v.43 no.4
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• pp.474-490
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• 2019

Fashion films with screen limits have a way of changing communication methods through sensorial organs in order to go beyond limits. This study shows that such change is possible if fashion films are based on haptic factors. This study examines haptic factors of fashion films from the three perspectives of filming factors of different shot size, synesthetic, and cinematic screen methods. First, when the subject to be emphasized is enlarging, the observer comes to project themselves to the situation and incurs a haptic sensation. Second, when associating an experience by personal recollection or social customs when more than two senses are stimulated simultaneously, haptic sensations, triggered by multiple senses, takes place. Third, a blurred image shows haptic sensations through inducing observers to see into the meaning of a shot. As a result, the senses of the observer enlarge and enhance a communication ability through absorbing and accepting a fashion film. Furthermore, fashion films are effective in understanding the cultural forms of the age.

• Journal of the Ergonomics Society of Korea
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• v.31 no.6
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• pp.715-723
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• 2012

Objective: The aim of this study is to investigate haptic perception related researches into three perspectives: cutaneous & proprioceptive sensations, active & passive touch, and cognition & emotion, then to identify issues for implementing haptic interactions. Background: Although haptic technologies had improved and become practical, more research on the method of application is still needed to actualize the multimodal interaction technology. Systematical approached to explore haptic perception is required to understand emotional experience and social message, as well as tactile feedback. Method: Content analysis were conducted to analyze trend in haptic related research. Changes in issues and topics were investigated using sensational dimensions and the different contents delivered via tactile perception. Result: The found research opportunities were haptic perception in various body segments and emotion related proprioceptive sensation. Conclusion: Once the mechanism of how users perceives haptic stimuli would help to develop effective haptic interactrion and this study provide insights of what to focus for the future of haptic interaction. Application: This research is expected to provide presence, and emotional response applied by haptic perception to fields such as human-robot, human-device, and telecommunication interaction.

• Fashion & Textile Research Journal
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• v.21 no.4
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• pp.379-389
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• 2019

Fashion brands have traditionally conveyed emotions through brand image and images such as fashion photos; however, fashion films play an important role in conveying emotion to consumers due to changes that have resulted from the development of digital technology. This study investigates haptic perceptions in fashion films based on Laura Marks' theory. The study concurrently conducted literature and case studies. Haptic and is a condition of touching an object without actually touching it. Marks describes haptic theory as an embodied perception of physical effects that occur as images affect the body. Haptic perceptions that cause a sense of touching when looking at a fashion film can be understood as a formality embodied in the body of the object and spectator created by the object and spectator's clothing experience. Our bodies and apparel can be seen as being perceived and imprinted in our bodies by constantly experiencing and maintaining relationships in an inseparable relationship. Thus, when we look at fashion films, the haptic image invites feeling embodied in our body and provide a haptic perception. As a result, factors for the haptic perception in fashion film are ambiguity of images, fetish image, and non-narrative. Fashion companies are expected to make active use of haptic elements as an era of artificial intelligence arrives and the size of the e-commerce market grows.

• Journal of KIISE:Computing Practices and Letters
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• v.14 no.7
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• pp.646-656
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• 2008

In this paper, the prototype of haptic-based NVE (networked virtual environment) QoE (quality of experience) is proposed. The proposed framework plays a role of providing users with realistic feeling by managing the system and network resources efficiently under time-varying networks and heterogeneous systems. Therefore, first IoPH (importance of presence for haptic interaction) is defined to quantitate the sense of real that the users feel now. Then we define the haptic-based NVE components required to satisfy the haptic interaction QoE requirements. Finally, QoE adaptation scheme is suggested, which adapts the haptic-based NVE components to current network and system constraints for better haptic interaction quality.

• 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.