A prototype of a haptic and virtual reality simulator has been developed for simulation of the bone milling and material removal process occurring in several operations, e.g. temporal bone surgery or dental milling. The milling phase of an operation is difficult, safety critical and very time consuming. Reduction of operation time by only a few percent would in the long run save society large expenses. In order to reduce operation time and to provide surgeons with an invaluable practicing environment, this licentiate thesis discusses the introduction of a simulator system to be used in both surgeon curriculum and in close connection to the actual operations. The virtual reality and haptic feedback topics still constitute a young and unexplored area. It has only been active for about 10-15 years for medical applications. High risk training on real patients and the change from open surgery to endoscopic procedures have enforced the introduction of haptic and virtual reality simulators for training of surgeons. Increased computer power and the similarity to the successful aviation simulators also motivate to start using simulators for training of surgical skills. The research focus has been twofold: 1) To develop a well working VR-system for realistic graphical representation of the skull itself including the changes resulting from milling, and 2) to find an efficient algorithm for haptic feedback to mimic the milling procedure using the volumetric Computer Tomography (CT) data of the skull. The developed haptic algorithm has been verified and tested in the simulator. The visualization of the milling process is rendered at a graphical frame rate of 30 Hz and the haptic rendering loop is updated at 1000 Hz. Test results show that the real-time demands are fulfilled. The visual and haptic implementations have been the two major steps to reach the over all goal with this research project. A survey study is also included where the use of VR and haptic simulators in the surgical curriculum is investigated. The study starts with a historical perspective of the VR and haptic topics and is built up by answering different questions related to this topic and the implementation of simulators at the medical centres. The questions are of general concern for those developing surgical VR and haptic simulators. Suggested future work includes modelling, development and validation of the haptic forces occurring in the milling process and, based on this, implementation in the simulator system. Also, further development of the simulator should be done in close cooperation with surgeons in order to get appropriate feedback for further improvements of the functionality and performance of the simulator. / QC 20101112

<p>Our study investigates how different mapping strategies of distance information affect performance in an object exploration task with a teleoperated virtual robot. The task was to find an object inside a backpack using a simulated robotic gripper. A virtual proximity sensor tracked the distance between the tip of the gripper and the object. The distance was conveyed as a vibration pattern on the users index finger. This is the only information that was received to guide the user towards the object. The goal was to locate the hidden object by moving the tip of the gripper as quickly and as closely towards the object as possible without touching it. We implemented three different mapping strategies that utilized continuous frequency and amplitude variations of sinusoidal vibrations to encode distance. The present study provides empirical evidence that the mapping strategy can affect accuracy when approaching an object. We found that linear feedback sensations help to sense the rate of approach. Non- linear feedback perception can provide cues that enable more accurate approximation of the absolute distance. We found that experienced participants could selectively attend to and integrate frequency and intensity cues when both modalities are changed simultaneously. Inexperienced participants were not able to make this distinction and found it difficult to interpret such a signal. They preferred one-dimensional changes.</p>

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This thesis discusses commensality as a significant social activity, that helps to maintain and strengthen social bonds. It also examines the sense of touch as a communication channel, and provides an insight to how it can be used to communicate affect. Touch as contextualized medium and its relevance to interaction design is investigated. Based on studies made in psychology, physiology, sociology and communication it aims to find an answer to the question: ”How may we create togetherness -with the help of an interactive device- between loved ones separated by distance during dining, through remote communication?” In order to meet the objectives of the above question this research followed the Research Through Design methodology, with series of workshops and prototyping sessions.

<p dir="ltr">Task performance is considered an important emphasis in the world of Human-Computer Interaction (HCI). With the emergence of advanced technologies such as Virtual Reality (VR), it is important to understand how individuals are able to utilize this tool for productive task performance. Researchers are continuously exploring how to enhance human performance in a digital space (Wang & Jung, 2011). Prior research has demonstrated the role of integrating haptic feedback into a visual interface, with potential benefits in task performance, as well as increased experiences of presence and awareness while completing HCI tasks. Several research studies have been carried out to investigate ways to optimize human performance and richly uncover factors that affect human performance negatively and positively (Asan et al., 2015). Typically, in a VR setting, three primary senses are engaged: visual, auditory, and tactile (haptic). However, there is a gap in the literature regarding how the availability and intensity of haptic feedback through VR controllers affect users during task performance. This research study seeks to understand the cognitive performance of users in VR when exposed to varying levels of haptic feedback via the VR controllers. Results from this research reveal that participants perceived their performance to be higher and frustration to be lower when they were exposed to moderate and consistent availability and intensity of haptic feedback. To enhance VR’s immersion for users, it is essential to comprehend how to engage the human senses to optimize cognitive performance. Overall, the impact of this research study is to add to an existing body of literature in the domain of haptic feedback for extended reality-based experiences. </p>

In the driving task, vision, hearing, and the haptic senses are all used by the driver to gather required information. Future Intelligent Transportation Systems components are likely to further increase the volume of information available to or required by the driver, particularly in the case of commercial vehicle operators. The use of alternate modalities to present in-vehicle information is a possible solution to the potential overload of the visual channel. Auditory icons have been shown to improve operator performance and decrease learning and response times, not only in industrial applications, but also as emergency braking warnings. The use of auditory icons in commercial truck cabs has the potential to increase the number of auditory displays that can be distinguished and understood by commercial vehicle operators, and this experiment sought to determine the utility of auditory icons in that situation. Nine auditory icons were evaluated by commercial vehicle operators as they drove an experimental vehicle over public roads. A comparison of the data collected in the truck-cab environment to data collected in a laboratory study on the same auditory icons revealed some differences in the perceived meaning, perceived urgency, and association with the auditory icons' intended meanings between the two conditions. The presence of these differences indicates that driver evaluations of auditory icons can be affected by the environment, and testing should therefore be conducted in a situation that approximates the end-user environment as closely as possible. A comparison of the drivers' brake response times across the three warning conditions (no warning, auditory icon, and soft braking) was also conducted on a closed, secure handling course. Dependent measures included overall brake reaction time and its components, steering response time, time to initial driver action, and categorical measures of driver responses (steering, swerving, braking, and stopping). The results indicated numerically shorter mean response times (on the order of 0.5 seconds for Total Brake Response Time) for the two conditions with warnings, but the differences were not statistically significant. The most likely reason for this lack of significance is the extreme between-subject variability in response times in the no warning condition. An analysis of the response time variance across the three conditions did indicate significantly less variability in operator responses in the two warning conditions. Two of the five dependent measures (Brake Pedal Contact Time and Total Brake Response Time) exhibited significantly reduced variance in the auditory icon warning condition compared to the no warning condition. The soft braking warning condition exhibited significantly reduced variance for four of the dependent measures (Accelerator Reaction Time, Brake Pedal Contact Time, Total Brake Response Time, and First Reaction Time). These results indicate that a soft braking stimulus like that used in this study could potentially prove to be a more effective emergency braking warning than simple auditory warnings alone. / Master of Science

La chirurgie arthroscopique présente actuellement un essor très important pour le bénéfice du plus grand nombre des patients. Cependant, cette technique possède un certain nombre d'inconvénients et il est donc nécessaire pour le médecin de s'entrainer et répéter ses gestes afin de pouvoir exécuter ce type d'opération d'une façon efficace et certaine. En effet, les méthodes traditionnelles d'enseignement de la chirurgie sont basées sur l'autopsie des cadavres et l'entrainement sur des animaux. Avec l'évolution de notre société, ces deux pratiques deviennent de plus en plus critiquées et font l'objet de réglementations très restrictives. Afin d'atteindre un niveau plus élevé, de nouveaux moyens d'apprentissage sont nécessaires pour les chirurgiens. Récemment, la réalité virtuelle commence d'être de plus en plus utilisée dans la médecine et surtout la chirurgie. Les simulateurs chirurgicaux sont devenus une des matières les plus récentes dans la recherche de la réalité virtuelle. Ils sont également devenus une méthode de formation et un outil d'entrainement valable pour les chirurgiens aussi bien que les étudiants en médecine. Dans ce travail, un simulateur de réalité virtuelle pour l'enseignement de la chirurgie arthroscopique, surtout la chirurgie du poignet, a été préesenté. Deux questions principales sont abordées : la reconstruction et l'interaction 3-D. Une séquence d'images CT a été traitée afin de générer un modèle 3-D du poignet. Les deux principales composantes de l'interface du système sont illustrées : l'interaction 3-D pour guider les instruments chirurgicaux et l'interface de l'utilisateur pour le retour d'effort. Dans ce contexte, les algorithmes qui modélisent les objets en utilisant les approches de "Convex Hull" et qui simulent la détection de collision entre les objets virtuels en temps réel, sont présentés. En outre, un dispositif de retour d'effort est utilisé comme une interface haptique avec le système. Cela conduit au développement d'un système à faible coût, avec les mêmes avantages que les appareils professionnels. A cet égard, l'arthroscopie du poignet peut être simulée et les étudiants en médecine peuvent facilement utiliser le système et peuvent apprendre les compétences de base requises en sécurité, flexibilité et moindre coût

Le but de cette étude était de déterminer la contribution de plusieurs facteurs (le design de la tâche, l’orientation d’angle, la position de la tête et du regard) sur la capacité des sujets à percevoir les différences de formes bidimensionnelles (2-D) en utilisant le toucher haptique. Deux séries d'expériences (n = 12 chacune) ont été effectuées. Dans tous les cas, les angles ont été explorés avec l'index du bras tendu. La première expérience a démontré que le seuil de discrimination des angles 2-D a été nettement plus élevé, 7,4°, que le seuil de catégorisation des angles 2-D, 3,9°. Ce résultat étend les travaux précédents, en montrant que la différence est présente dans les mêmes sujets testés dans des conditions identiques (connaissance des résultats, conditions d'essai visuel, l’orientation d’angle). Les résultats ont également montré que l'angle de catégorisation ne varie pas en fonction de l'orientation des angles dans l'espace (oblique, verticale). Étant donné que les angles présentés étaient tous distribués autour de 90°, ce qui peut être un cas particulier comme dans la vision, cette constatation doit être étendue à différentes gammes d'angles. Le seuil plus élevé dans la tâche de discrimination reflète probablement une exigence cognitive accrue de cette tâche en demandant aux sujets de mémoriser temporairement une représentation mentale du premier angle exploré et de la comparer avec le deuxième angle exploré. La deuxième expérience représente la suite logique d’une expérience antérieure dans laquelle on a constaté que le seuil de catégorisation est modifié avec la direction du regard, mais pas avec la position de la tête quand les angles (non visibles) sont explorés en position excentrique, 60° à la droite de la ligne médiane. Cette expérience a testé l'hypothèse que l'augmentation du seuil, quand le regard est dirigé vers l'extrême droite, pourrait refléter une action de l'attention spatiale. Les sujets ont exploré les angles situés à droite de la ligne médiane, variant systématiquement la direction du regard (loin ou vers l’angle) de même que l'emplacement d'angle (30° et 60° vers la droite). Les seuils de catégorisation n’ont démontré aucun changement parmi les conditions testées, bien que le biais (point d'égalité subjective) ait été modifié (décalage aux valeurs inférieurs à 90°). Puisque notre test avec le regard fixé à l’extrême droite (loin) n'a eu aucun effet sur le seuil, nous proposons que le facteur clé contribuant à l'augmentation du seuil vu précédemment (tête tout droit/regard à droite) doit être cette combinaison particulière de la tête/regard/angles et non l’attention spatiale. / The purpose was to determine the contribution of several factors (design of the task, angle orientation, head position and gaze) to the ability of subjects to perceive differences in twodimensional (2-D) shape using haptic touch. Two series of experiments (n=12 each) were carried out. In all cases the angles were explored with the index finger of the outstretched arm. The first experiment showed that the mean threshold for 2-D angle discrimination was significantly higher, 7.4°, than for 2-D angle categorization, 3.9°. This result extended previous work, by showing that the difference is present in the same subjects tested under identical conditions (knowledge of results, visual test conditions, angle orientation). The results also showed that angle categorization did not vary as a function of the orientation of the angles in space (oblique, upright). Given that the angles presented were all distributed around 90°, and that this may be a special case as in vision, this finding needs to be extended to different ranges of angles. The higher threshold with angle discrimination likely reflects the increased cognitive demands of this task which required subjects to temporarily store a mental representation of the first angle scanned, and to compare this to the second scanned angle. The second experiment followed up on observations that categorization thresholds are modified with gaze direction but not head position when the unseen angles are explored in an eccentric position, 60° to the right of midline. This experiment tested the hypothesis that the increased threshold when gaze was directed to the far right might reflect an action of spatial attention. Subjects explored angles located to the right of midline, systematically varying the direction of gaze (away from or to the angles) along with angle location (30° and 60° to the right). Categorization thresholds showed no change across the conditions tested, although bias (point of subjective equality) was changed (shift to lower angle values). Since our testing with far right gaze (away) had no effect on threshold, we suggest that the key factor contributing to the increased threshold seen previously (head forward/gaze right) must have been this particular combination of head/gaze/angles used and not spatial attention.

Graphical information presented as pictures, graphs, maps, and the like are an important media for relaying knowledge and are a fundamental means of education rarely experienced by people who are blind or have a severe visual impairment. This thesis presents the design, development and testing of a multiple finger, haptic matrix dynamic display device capable of relaying graphical information through simulated textures. The design is based on user perception studies that determined which hand constraints provided the best tradeoff between simplicity of design, accuracy and time to answer. The best design was one that incorporated multiple fingers in close proximity to each other and restricted wrist rotation. Upon further testing after the development of the device, evidence was gathered to show its effectiveness. Although subjects could determine key information from the simulated textures, there is a clear mismatch between the simulated representations of the objects and their tactile or embossed counterparts. There is some evidence that shows that the spatial resolution of the actuators may be a source of this error and also some evidence to state that it is the inability to track the edges that causes the difference between determining the physical diagrams and the simulated. On the other hand, results on determining locations using simulated maps were far closer to the control texture maps used than the results for object diagrams. Further studies could be done to determine the effect of higher actuator spatial resolution on object identification and edge tracking.

Peu satisfaite des concepts généralement mentionnés lorsqu’il s’agit d’écrire sur les films réalisés en stop-motion, je propose d’analyser un corpus de quatre films réalisés par un duo estonien peu connu, les réalisatrices Jelena Girlin et Mari-Liis Bassovskaja, en ancrant mon discours dans une recherche plus large sur l’intimité et la sensorialité en art. J’effleure, par l’entremise d’une revue de littérature, le paradoxe d’animer l’inanimé et l’idée du umheimlich freudien, prégnants dans les écrits substantiels autour du cinéma d’animation en volume. Après avoir démontré que l’œuvre de Girlin Bassovskaja s’incrit dans le domaine de l’intime, j’approfondis l’analyse en m’appuyant sur les théories de la visualité haptique appliquée aux films. Je découvre le corpus à la lumière de ces théories, et évoque l’idée du regard caressant du spectateur vers le film, mais aussi de sa réversibilité. De plus, en tant que réalisatrice-animatrice de court-métrages d’animation, les théories susmentionnées outillent ma pensée afin de décrire ma volonté quasi obsessionnelle de rendre l’intimité tangible par une animation sensuelle en pâte à modeler sur verre. / Not satisfied with regular concepts usually used when one speaks about stop-motion animation, I suggest another way to discuss about animation films while analyzing four short films made by estonian directors Jelena Girlin and Mari-Liis Bassovskaja, based on a wider research on intimacy and sensory perception in art. I first explore, through a review of literature, the paradox of animating the inanimate and the Freudian umheimlich, substantially recurring in writings about stop motion films. Having demonstrated that the work of Girlin Bassovskaja be seen against the domain of intimacy, I deepen my analysis of the films by relying on theories of haptic visuality. I discover the body of works in the light of these theories, and evoke the idea of a caressing gaze from the viewer to the film, but also its reversibility. In addition, as a filmmaker creator of short animated films, the above theories are feeding my reflexions and serve to describe my almost obsessive desire to make tangible intimacy with sensual animated plasticine on glass.