• Journal of the Institute of Convergence Signal Processing
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• v.14 no.4
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• pp.212-216
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• 2013

As virtual reality technologies are advanced rapidly, how to render 3D objects across modalities is becoming an important issue. This study is therefore aimed to investigate human discriminability on the curvature of 3D polygonal surfaces with focusing on the vision and touch senses because they are most dominant when explore 3D shapes. For the study, we designed a psychophysical experiment using signal detection theory to determine curvature discrimination for three conditions: haptic only, visual only, and both haptic and visual. The results show that there is no statistically significant difference among the conditions although the threshold in the haptic condition is the lowest. The results also indicate that rendering using both visual and haptic channels could degrade the performance of discrimination on a 3D global shape. These results must be considered when a multimodal rendering system is designed in near future.

• 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.

• Archives of design research
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• v.14 no.2
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• pp.15-25
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• 2001

With the rapid development of current internet, digital age make human beings intangible. Haptic sense was recognized less important than visual sense and auditory sense, but it plays an important role in determining the quality of products. The goals of this study are embodying haptics using Visual and Auditory preception and designing Visual-Auditory Haptic interface, in the case of actual touching is required but impossible. This study was carried out 3 steps. Firstly, developing the concept of Visual-Auditory Haptic Interface(VAHI) was carried out to make it certain the direction of this study. To get common factors of VAHI, this study researched physical-mechanism of visual, auditory, and haptics senses, and psychological-mechanism. Secondly, identifying factors of V/A haptic sense was analysed by web-evaluation test, to be categorized 11 Emotional Haptic Factors(EHF) and some Design Haptic Factors(DHF). The relation of EHF and DHF was analysed and summarized to VAHI design check sheet. Finally, Applying DHF to VAHI by EHF according to VAHI design check sheet was validated by web-evaluation test, to be resulted 13% increase in reliability and the same in usability. Conclusively, the possibility of embodying haptics using Visual and Auditory preception was resulted to be valid. And this concept can be applied to an interface, such a internet shopping mall and virtual reality, which requires actual touching to perceive haptic information, but it is impossible.

• 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.

• The Journal of Korea Robotics Society
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• v.8 no.3
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• pp.197-205
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• 2013

This paper presents a robotic system that provides telepresence to the visually impaired by combining real-time haptic rendering with multi-modal interaction. A virtual-proxy based haptic rendering process using a RGB-D sensor is developed and integrated into a unified framework for control and feedback for the telepresence robot. We discuss the challenging problem of presenting environmental perception to a user with visual impairments and our solution for multi-modal interaction. We also explain the experimental design and protocols, and results with human subjects with and without visual impairments. Discussion on the performance of our system and our future goals are presented toward the end.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.3 s.116
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• pp.23-31
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• 2006

Multi-sensory design results from sensory design paradigm and image centricism, which stimulates 5 sensation; visual, auditory, haptic, smell and taste sensation when we experience environment. This is helpful for designing outdoor space considering integrated sensation not only visual and auditory sensation as well as for improving visitor's satisfaction. Therefore, this study mainly intended to analyse the multi-sensory preference and the image influence of outdoor leisure space. For these purpose, this study selected 3 leisure spaces around Seoul city; Gwan-ak mountain(the type oriented natural resource), Insa-dong(the type oriented cultural resource) and Seoul land as theme park(the type oriented facility) and a survey was performed with a total of 204 visitors at the above spaces in winter and summer. The results of this study indicate that visual sensation was evaluated most high at 3 outdoor leisure spaces in both winter and summer. Visitors at Gwan-ak mountain and Seoul land prefer visual and haptic sensation, but visitors at Insa-dong prefer visual and haptic sensation in summer, visual and taste sensation in winter. Above all, this study led the designer to consider diverse sensation to access leisure space, especially haptic sense, which can be an effective design strategy to satisfy visitors.

• 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.

• Journal of the Korea Computer Graphics Society
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• v.26 no.2
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• pp.1-9
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• 2020

In this paper, we propose haptic interfaces based on force feedback to provide a physical painting experience to virtual reality users. Through this system, the user can create surface-based painting holding a haptic stylus, while utilizing both visual feedback from the worn HMD and haptic feedback during painting. In particular, the haptic interfaces simulate the physical interaction between painting brush and painting, which can help to improve the spatial perception of users and compensate for visual feedback. This can reduce laborious drawing works to repeatedly paint strokes and therefore yield a better painting performance. As a result, users can experience more effective and realistic VR painting with this system.

• 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 Journal of Acupuncture
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• v.38 no.4
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• pp.290-307
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• 2021

Objectives : Perceptual experiences have a causal relationship with reality. If there exists something corresponding to acupoints, there should be perceptual experiences for that something. The purpose of this study is to identify and to analyze the perceptual experiences for acupoints within 『LingShu·BenShu』. Methods : First, we briefly propose a perceptual anatomy in order to describe the perceived human body parts, and their perceived directions and places. Second, we analyze the ways of identifying acupoints in the original text of 『LingShu·BenShu』. Results : From 『LingShu·BenShu』, the procedures of identifying total 64 acupoints were recognized. It was clarified that they are by way of visual and haptic explorations in body regions and partial regions. Conclusions : Perceptual explorations for acupoints follow three major principles: of gradual narrowing down, of determination of direction or place, of relative distance. At the final stages, categories of form and location are encountered by observers. The forms have either concavities or convexities. They are determinate indicators of where acupoints are, while the locations are indetermanate. Haptic forms of acupoints are newly discovered from textual analysis with perceptual anatomy. These properties will shed new light both on study of acupoints and on study of meridians.