• 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.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.21 no.5
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• pp.79-87
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• 2021

This study suggests a design process for vibrotactile interface that can apply haptic perception factors reflecting human tactile mechanisms. This process consists of 4 stages: the haptic sense requirement analysis stage, the haptic element analysis stage, the haptic perception factor analysis stage, the haptic requirement detailed design, and the prototype implementation stage. The advantage of this design process is that unnecessary tasks can be excluded in deriving and implementing user requirements, by applying haptic perception factor analysis, and the biggest feature is that research results on ergonomic mechanisms can be reflected in the haptic design, completes prototype development simultaneously while determining the haptic requirements statement by performing user evaluation, usability testing, and haptic feature optimization tasks simultaneously. This design process includes all stages from user requirements to haptic function detailed design and prototype implementation, so it is expected that general developers who lack expertise in haptic will also be able to design user-centered designs, enabling design and implementation of haptic functions at a certain level.

• IE interfaces
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• v.17 no.2
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• pp.158-168
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• 2004

A technology roadmap was developed for haptic interface technologies to be applied to games. Haptic interface technologies are expected to play an important role in games to provide gamers with interaction and immersive perception in near future, even though haptic interface technologies have been less studied than other perception-related technologies with respect to games. Information on two types of haptic interfaces - portable and desktop - and their evolution processes were analyzed in terms of technological demands. Haptic feedback technologies to realize these demands were inspected with the time frame and haptic feedback technologies were derived using a technology tree. The technology roadmap of haptic interfaces in game was finally constructed by mapping the technological demands in time with game technology trends. The technology roadmap of haptic interfaces will have implications on developing haptic interfaces to be applied to many applications including virtual realities and games.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.2
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• pp.37-51
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• 2016

Modern optical mechanisms slanted toward Ocular-centrism have neglected diverse functions of vision, judged objects in abstract and binary perspectives, and organized spaces accordingly, there by neglecting the function of eyes groping objects. Recently, various experiences have been induced through communication with other senses by the complex perception beyond the binary perception system of vision. Haptic perception is dynamic vision that induces accompanying bodily experiences through interaction among the various senses; it recognizes the characteristics of material properties and various sensitive stimulations of human beings. This study elaborates on the major features of haptic perception by examining the theoretical background of this concept, which stimulates the active experience of the subject and determines how characteristics of haptic perception are displayed in picturesque gardens. In order to identify the major features of haptic perception, this study examines how Adolf Hildebrand's theory of vision is developed, expanded, and reinterpreted by Alois Riegl, Wilhelm Worringer, Walter Benjamin, Maurice Merleau Ponty, and Gilles Deleuze in the histories of philosophy and aesthetics. Based thereon, the core differences in haptic perception models and visual perception models are analyzed, and the features of haptic perception are identified. Then, classical gardens are set for visual perception and picturesque gardens are set for haptic perception so that the features from haptic perception identified previously are projected onto the picturesque gardens. The research results drawn from this study regarding features of haptic perception presented in picturesque gardens are as follows. The core differences of haptic perception in contrast to visual perception can be summarized as ambiguity and obscureness of boundaries, generation of dynamic perspectives, induction of motility by indefinite circulation, and strangeness and sublime beauty by the impossibility of perception. In picturesque gardens, the ambiguity and obscureness of boundaries are presented in the irregularity and asymmetric elements of planes and the rejection of a single view, and the generation of dynamic perspectives results from the adoption of narrative structure and overlapping of spaces through the creation of complete views, medium range views, and distant views, which the existing gardens lack. Thus, the scene composition technique is reproduced. The induction of motility by indefinite circulation is created by branching circulation, and strangeness and sublime beauty are presented through the use of various elements and the adoption of 'roughness', 'irregularity', and 'ruins' in the gardens.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.4
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• pp.1-14
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• 2015

In the West, of the body's five senses sight is considered the most important but Ocular-centralistic thinking contains many issues. Privileging the subject and inhibiting interaction with the other senses, Ocular-centrism limits the experience of the world to the visual area. However, experiences can be understood as 'touching' various forms and are related to touch. With the heightened interest in the multi-sensuous side of the body contrary to Ocular-centrism, the intervention of the body in the external space has become an important issue in modern landscape architecture. This study explores the possibility of the haptic perception system that causes the active experience of a subject. Haptic perception plays a catalytic role leading an active experience of the subject and the subject experiences a sense of place through such haptic perception. By revealing what was known through the sense of touch through the concurrency and interaction of the various senses, haptic perception draws active participation The haptic perception system has been studied in various fields but has not been studied in the field of landscape architecture. Thus, this study discusses the aspect of haptic perception limited to landscape architecture shown before modernism. In a discussion on haptic perception, the concept of haptic perception is clarified through previous study reviews and literature and the characteristics of haptic perception are derived. Then, the problems of the Ocular-centrism system and the need for haptic perception are discussed. In the historical development process of haptic perception, the change process of the scopic regime is examined chronologically and the ways in which Ocular-centralistic thinking and anti-Ocular-centralistic thinking have been projected on the architecture and landscape architecture of each age are studied via literature and cases studies. The impact of the scopic regime on the landscape architecture field in the historical change process is examined.

• Korean Institute of Interior Design Journal
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• v.22 no.2
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• pp.100-111
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• 2013

The theories of optical/haptic perception provide us contrasting insights into the perception of space in movie and architecture. Through the lenses of these theories, this study aims to analyse the optical and haptical aspect of the medieval library of the film, The Name of the Rose. The dominance of vision over the other senses has been maintained by many philosophers, such as Plato, Aristotle, and Aquinas, and this trend leads to the development of the hierarchical and perspective space of Renaissance and Modern Architecture. Those conceptions of optical space help us not only identify space as clear and distinct three-dimensional entity but also separate the subject and the object. However, tactile/haptic perception is more useful to explain the experience of film and contemporary architecture than optical perception. This haptic space is developed by Alois Riegl, Walter Benjamin, and Gilles Deleuze. This study intends to search for the difference between two perceptions on the architectural space of the movie, examine the relation between architecture and human, space and user.

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.162-170
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• 2013

Although vision has been considered as a top sensory organ in the Western culture until modern times, the significance of space experience that communicates with a body via complex perceptions has recently garnered attention. This study criticizes the limitations of a vision-centered space and has the goal of empirically examining the sensibility characteristics in a haptic space through post-structuralism views leading up to Gilles Deleuze's philosophical ideas. This study will explore the flow of senses from the philosophical and artistic standpoint and the sensibility characteristics in a haptic space by examining the theories on haptic perceptions in connection with a space. In order to test the existing theories and identify the differences in sensibilities depending on perceptual method, the sensibilities of participants were compared using SD method (Semantic Differential scale method) and a validity test was conducted using a statistical program SPSS. The research has revealed that the average sensitivity scale of complex haptic perception was higher than single perception that only relies on vision. In addition, there was a correlation between perceptual method based on various sensory organs and human sensitivities. This study is meaningful in that it can serve a foundation for empirical research on sensibility, since it has reexamined the relationship between space and participants and demonstrated and analyzed their sensitivities through an experiment.

• Journal of the Korea Society of Computer and Information
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• v.23 no.7
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• pp.49-56
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• 2018

Virtual object weight perception is an important topic, as it heightens the believability of object manipulation in immersive virtual environments. Although weight perception can be achieved using haptic interfaces, their technical complexity makes them difficult to apply in immersive virtual environments. In this study, we present a visual pseudo-haptic feedback system that simulates and depicts the weights of virtual objects, the effect of which is weight perception. The proposed method recognizes grasping and manipulating hand motions using computer vision-based tracking methods, visualizing a Force Arrow to indicate the current lifting forces and its difference from the standard lifting force. With the proposed Force Arrow method, a user can more accurately perceive the logical and unidirectional weight and therefore control the force used to lift a virtual object. In this paper, we investigate the potential of the proposed method in discriminating between different weights of virtual objects.

• Korean Journal of Computational Design and Engineering
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• v.15 no.2
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• pp.136-143
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• 2010

Realistic Modeling is to maximize the reality of the environment in which perception is made by virtual environment or remote control using two or more senses of human. Especially, the field of haptic rendering, which provides reality through interaction of visual and tactual sense in realistic model, has brought attention. Haptic rendering calculates the force caused by model deformation during interaction with a virtual model and returns it to the user. Deformable model in the haptic rendering has more complexity than a rigid body because the deformation is calculated inside as well as the outside the model. For this model, Gibson suggested the 3D ChainMail algorithm using volumetric data. However, in case of the deformable model with non-homogeneous materials, there were some discordances between visual and tactual sense information when calculating the force-feedback in real time. Therefore, we propose an algorithm for the Volume Haptic Rendering of non-homogeneous deformable object that reflects the force-feedback consistently in real time, depending on visual information (the amount of deformation), without any post-processing.