Mid-Air Action Contributes to Pseudo-Haptic Stiffness Effects

Perceptual plausibility of exaggerated realistic motion

The informal heuristic practices of the fine arts have much to offer to our understanding of the appearance of phenomenological reality. One interesting example is the use of exaggeration to enhance the illusion of liveliness in both living and nonliving subjects. This further eases the uncomfortable sense that the motion is somehow uncanny - especially with inanimate objects. We performed a series of experiments to test the effects of exaggeration on the phenomenological perception of simple animated objects - bouncing balls. A physically plausible model of a bouncing ball was augmented with a frequently used form of exaggeration known as squash and stretch. Observers were shown a series of animated balls, depicted using systematic parameterizations of the exaggeration model, and asked to rate their plausibility. A range of rendering styles provided varying levels of information as to the type of ball. In all cases, balls with small amounts of exaggeration were seen as plausible as those without any exaggeration (e.g., with veridical motion). Furthermore, when the type of ball was not specified, observers tolerated a large amount of exaggeration before judging them as implausible. When the type of ball was indicated, observers narrowed the range of acceptable exaggeration somewhat but still tolerated exaggeration well beyond that which would be physically possible. We contend that, in this case, exaggeration acts to bridge the so-called uncanny valley for artificial depictions of physical reality.

Falling and heaviness: Heaviness judgment for a visual object which users lift up is influenced by the presentation of the object's falling or staying still

When lifting and subsequently releasing a visual object on a screen using a computer mouse, users tend to judge the object to be heavier when the motion speed of the object during lifting is smaller. However it was unclear how the presentation of an object falling after its release influenced the judgment of heaviness. Users generally believe mistakenly that heavier objects fall faster. Based on the previous report of this misbelief, we briefly explored how the falling speed of a visual object after release by a user influenced the judgment of heaviness. The falling speed of the object was systematically modulated by changing gravity in the simulation of the natural falling of the object. Participants judged the object's heaviness after they lifted and subsequently released it. As a result, the participants judged the object to be lighter when the falling speed was zero. However, no significant differences were observed among the conditions with a falling speed greater than zero. It is suggested that for the judgment of heaviness, a vital aspect in the presentation of a falling object after releasing is whether the object falls or not.

Modified Egocentric Viewpoint for Softer Seated Experience in Virtual Reality

Users in a prolonged experience of virtual reality adopt a sitting position according to their task, as they do in the real world. However, inconsistencies in the haptic feedback from a chair they sit on in the real world and that which is expected in the virtual world decrease the feeling of presence. We aimed to change the perceived haptic features of a chair by shifting the position and angle of the users' viewpoints in the virtual reality environment. The targeted features in this study were seat softness and backrest flexibility. To enhance the seat softness, we shifted the virtual viewpoint using an exponential formula soon after a user's bottom contacted the seat surface. The flexibility of the backrest was manipulated by moving the viewpoint, which followed the tilt of the virtual backrest. These shifts make users feel as if their body moves along with the viewpoint; as a result, they would perceive pseudo-softness or flexibility consistently with the body movement. Based on subjective evaluations, we confirmed that the participants perceived the seat as being softer and the backrest as being more flexible than the actual ones. These results demonstrated that only shifting the viewpoint could change the participants' perceptions of the haptic features of their seats, although significant changes created strong discomfort.

The Relationship Between Illusory Heaviness Sensation and the Motion Speed of Visual Feedback in Gesture-Based Touchless Inputs

Interaction systems with gesture-based touchless inputs are becoming more common. Nevertheless, perceptual properties of the visual feedback used in the system have not been well documented. We investigated whether the speed of motion shown in visual feedback used in gesture-based touchless inputs could be a cue for the heaviness sensation of an object even when other incidental cues, such as changes in object size and spatial consistencies in direction between gestures and feedback, were eliminated from the stimuli. Participants were asked to make a gesture to grasp and raise/lower disks shown on a horizontal display. The disk’s diameter changed in accordance with the vertical position of the participant’s hand. The results showed that the rate of change in diameter determined the heaviness sensation. When the disks were replaced with concentric gratings having sinusoidal radial intensity and thus the cue of size change was eliminated from the stimuli, the heaviness sensation was dependent on the speed of phase shift (that is, motion) in the grating. It was also found that spatial consistency between the direction of gestures and phase shift was not a critical condition for the heaviness sensation. Finally, the speed of motion served as a critical determinant of the heaviness sensation even when another visual feature (i.e., frame rate) was modulated in a single session, which indicates that the effect of the speed of motion on the heaviness sensation was unlikely due to demanded characteristics. The results indicate that the heaviness sensation for visual feedback of gesture-based touchless inputs is based purely on the speed of the visual feedback motion.

Survey of Pseudo-Haptics: Haptic Feedback Design and Application Proposals

In the last two decades, the design of pseudo-haptics as a haptic presentation method that does not require a mechanical feedback device has been proposed in various research papers. Moreover, applications using pseudo-haptics have been proposed and evaluated in various contexts. However, the findings from these studies have not yet been comprehensively organized in a survey paper in the recent times. In this article, findings from a series of individual prior studies were summarized from the design through to the application proposals. First, we summarize visual stimuli designs based on the target haptic object properties to induce pseudo-haptics. Second, we summarize two special issues when designing pseudo-haptics; (1) workaround design for the visualized mismatch of visual stimuli and user input; and (2) the combination design of pseudo-haptics and physical stimuli. Third, application proposals that use pseudo-haptics for training, assistance, and entertainment are presented. This survey paper would help not only researchers in academia but also application developers who intend to use pseudo-haptics as a haptic presentation method.

Sense of Resistance for a Cursor Moved by User's Keystrokes

Haptic sensation of a material can be modulated by its visual appearance. A technique that utilizes this visual-haptic interaction is called as pseudo-haptic feedback. Conventional studies have investigated pseudo-haptic feedback in situations, wherein a user manipulated a virtual object using a computer mouse, a force-feedback device, etc. The present study investigated whether and how it was possible to offer pseudo-haptic feedback to a user who manipulated a virtual object using keystrokes. Participants moved a cursor toward a destination by pressing a key. While the cursor was moving, the cursor was temporarily slowed down on a square area of the screen. The participants’ task was to report, on a five-point scale, how much resistance they felt to the cursor’s movement. In addition to the basic speed of the cursor, the ratio of the basic speed to the speed within the square area was varied. In Experiment 1, we found that these two factors interacted significantly with each other, but further analysis showed that the cursor speed within the square area was the most important determinant of perceived resistance. In Experiment 2, consistent with the results of the previous experiment, it was found that the cursor movement outside of the square area was not required to generate the sense of resistance. Counterintuitively, in Experiment 3, the sense of resistance was apparent even without user’s keystrokes. We discuss how the sense of resistance for a cursor moved by keystrokes can be triggered visually, but interpreted by the brain as a haptic impression.

Perceptual Properties of the Poisson Effect

When an elastic material (e.g., fabric) is horizontally stretched (or compressed), the material is compressed (or extended) vertically – so-called the Poisson effect. In the different case of the Poisson effect, when an elastic material (e.g., rubber) is vertically squashed, the material is horizontally extended. In both cases, the visual system receives image deformations involving horizontal expansion and vertical compression. How does the brain disentangle the two cases and accurately distinguish stretching from squashing events? Manipulating the relative magnitude of the deformation of a square between horizontal and vertical dimensions in the two-dimensional stimuli, we asked observers to judge the force direction in the stimuli. Specifically, the participants reported whether the square was stretched or squashed. In general, the participant’s judgment was dependent on the relative deformation magnitude. We also checked the anisotropic effect of deformation direction [i.e., horizontal vs. vertical stretching (or squashing)] and found that the participant’s judgment was strongly biased toward horizontal stretching. We also observed that the asymmetric deformation pattern, which indicated the specific context of force direction, was also a strong cue to the force direction judgment. We suggest that the brain judges the force direction in the Poisson effect on the basis of assumptions about the relationship between image deformation and force direction, in addition to the relative image deformation magnitudes between horizontal and vertical dimensions.