International audience

Haptic feedback contributes to immersive virtual reality (VR) experiences. However, designing such feedback at scale for all objects within a VR scene remains time-consuming. We present Scene2Hap, an LLM-centered system that automatically designs object-level vibrotactile feedback for entire VR scenes based on the objects’ semantic attributes and physical context. Scene2Hap employs a multimodal large language model to estimate each object’s semantics and physical context, including its material properties and vibration behavior, from multimodal information in the VR scene. These estimated attributes are then used to generate or retrieve audio signals, subsequently converted into plausible vibrotactile signals. For more realistic spatial haptic rendering, Scene2Hap estimates vibration propagation and attenuation from vibration sources to neighboring objects, considering the estimated material properties and spatial relationships of virtual objects in the scene. Three user studies confirm that Scene2Hap successfully estimates the vibration-related semantics and physical context of VR scenes and produces realistic vibrotactile signals.

Figure 1: We present a bimanual motion-coupled vibration algorithm capable of creating connected material experiences between two hands.By modulating the parameters of vibrations between the hands, our algorithm can induce material properties of elasticity while stretching A ○, flexibility while bending B○ and torsion while twisting C ○.

In Virtual Reality (VR), rendering realistic forces is crucial for immersion, but traditional vibrotactile feedback fails to convey force sensations effectively. Studies of asymmetric vibrations that elicit pseudo forces show promise but are inherently tied to unwanted vibrations, reducing realism. Leveraging sensory attenuation to reduce the perceived intensity of self-generated vibrations during user movement, we present a novel algorithm that couples asymmetric vibrations with user motion, which mimics self-generated sensations. Our psychophysics study with 12 participants shows that motion-coupled asymmetric vibration attenuates the experience of vibration (equivalent to a ∼30% reduction in vibration-amplitude) while preserving the experience of force, compared to continuous asymmetric vibrations (state-of-the-art). We demonstrate the effectiveness of our approach in VR through three scenarios: shooting arrows, lifting weights, and simulating haptic magnets. Results revealed that participants preferred forces elicited by motion-coupled asymmetric vibration for tasks like shooting arrows and lifting weights. This research highlights the potential of motion-coupled asymmetric vibrations, offers new insights into sensory attenuation, and advances force rendering in VR.

Beyond visual and auditory displays, tactile displays and grounded force feedback devices have become more common. Other sensory modalities are also catered to by a broad range of display devices, including temperature, taste, and olfaction. However, one sensory modality remains challenging to represent: kinesthesia – the sense of movement. Inspired by grain-based compliance illusions, we investigate how vibrotactile cues can evoke kinesthetic experiences, even when no movement is performed. We examine the effects of vibrotactile mappings and granularity on the magnitude of perceived motion; distance-based mappings provided the greatest sense of movement. Using an implementation that combines visual feedback and our prototype kinesthetic display, we demonstrate that action-coupled vibrotactile cues are significantly better at conveying an embodied sense of movement than the corresponding visual stimulus, and that combining vibrotactile and visual feedback is best. These results point towards a future where kinesthetic displays will be used in rehabilitation, sports, virtual-reality and beyond.

Compliance, the degree of displacement under applied force, is pivotal in determining the material perception when touching an object. Vibrotactile actuators can be used for creating grain-based virtual compliance, but they have poor spatial resolution and a limiting rigid form factor. We propose a novel electrotactile compliance illusion that renders grains of electrical pulses on an electrode array in response to finger force changes. We demonstrate its ability to render compliance in distinct shapes through a thin, lightweight, and flexible finger-worn interface. Detailed technical parameters and the implementation of our device are provided. A controlled experiment confirms the technique can (1) create virtual compliance; (2) adjust the compliance magnitude with grain and electrode parameters; and (3) render compliance with specific shapes. In three example applications, we present how this illusion can enhance physical objects, elements in graphical user interfaces, and virtual reality experiences.

We present vARitouch, a back-of-the-finger wearable that can modify the perceived tactile material properties of the uninstrumented world around us: vARitouch can modulate the perceived softness of a rigid object through a vibrotactile compliance illusion. As vARitouch does not cover the fingertip, all-natural tactile properties are preserved. We provide three contributions: (1) We demonstrate the feasibility of the concept through a psychophysics study, showing that virtual compliance can be continuously modulated, and perceived softness can be increased by approximately 30 Shore A levels. (2) A qualitative study indicates the desirability of such a device, showing that a back-of-the-finger haptic device has many attractive qualities. (3) To implement vARitouch, we identify a novel way to measure pressure from the back of the finger by repurposing a pulse oximetry sensor. Based on these contributions, we present the finalized vARitouch system, accompanied by a series of application scenarios.

We present a method for 3D printing objects with variable softness inspired by mechanical metamaterials. These printed cellular structures can provide users with varying experiences of compliance across different scales through changes in their parametrized cell geometries. With our approach and tool, we want to enable designers and makers to rapidly prototype objects with variable softness as a base for diverse applications. The hereby generated structures are adaptable for fabrication on both high-end and commodity 3D printers. Four participants engaged in hands-on exploration with such 3D printed samples, providing initial data on how cell-parameters might affect the subjective/qualitative experience of compliance. In future research, we will systematically investigate such relationships to better understand how these structures can be designed to achieve desired perceived properties.

RaveNET connects people to music, enabling musicians to modulate sound using signals produced by their own bodies or the bodies of others. We present three wearable prototype nodes in an inaugural RaveNET performance: Bones, an anti-corset, uses capacitive sensing to detect stretch as the singer breathes. Tendons, a half-glove, measures galvanic skin response, pulse, and movement of the bass player’s hands. Veins, a cap with electrodes for surface electromyography, captures the facial expressions of the drum machine operator. These signals are filtered, normalized, and amplified to control voltage levels to modulate sound. Together, musicians and nodes form RaveNET and engage with shared liminal experiences. In designing these wearables and evaluating them in performance, we reflect on our creative processes, spaces between our different bodies, our presence and control within the network, and how this made us adapt our movements in order to be noticed and heard.

We present our musical performance exploration of liminal spaces, which focuses on the interconnected physicality of bodies in music, using biosignals and gestural, movement-based interaction to shape live performances in novel ways. Physical movement is important in structuring performance, providing cues across musical ensembles, and non-verbally informing other musicians of intention. This is especially true for improvised work. Our performance involves the use of our musicking bodies to modulate audio signals. Three bespoke wearable nodes modulate the performance through control voltages (CV) and interface with specific technical aspects of our instruments and techniques: 1) an “anti-corset” that measures the expansion and resistance of Reed’s abdomen while singing, 2) an augmented glove that assists Strohmeier’s bass/guitar signal routing across his pedal board and modular setup, and 3) a cap-like device that captures Martinez-Missir’s subtle facial expressions as he manipulates his modular synthesizer and drum machine setup. Through these performances we explore the notion of control in musical improvised performance, the interconnectedness and communications between our ensemble as we learn to collaborate and interpret each others’ bodies in this novel interaction.

Fabrics are seen as the foundation for e-textile interfaces but contribute their own tactile properties to interaction. We examine the role of fabrics in gestural interaction from a novel, textile-focused view. We replicated an eTextile sensor and interface for rolling and pinching gestures on four different fabric swatches and invited 6 participants, including both designers and lay-users, to interact with them. Using a semi-structured interview, we examined their interaction with the materials and how they perceived movement and feedback from the textile sensor and a visual GUI. We analyzed participants’ responses using a joint, reflexive thematic analysis and propose two key considerations for research in e-textile design: 1) Both sensor and fabric contribute their own, inseparable materiality and 2) Wearable sensing must be evaluated with respect to culturally situated bodies and orientation. Expanding on material-oriented design research, we proffer that the evaluation of eTextiles must also be material-led and cannot be decontextualized and must be grounded within a soma-aware and situated context.

This studio aims to collaboratively build foot augmentations, experiment with different materials and techniques, and create new designs for low-cost, wearable, and accessible devices that can be used by researchers, makers, designers, and artists. Considering the heightened focus on the human body with the rise of AR/VR/XR technologies, foot augmentation has great potential. To explore this potential, we invite researchers, designers and artists to share their applications, experiences, and ideas while designing foot augmentations. Participants will share knowledge, brainstorm ideas, and explore tools and materials for rapid prototyping. Finally, they will tinker and explore, discussing their design strategies to derive common approaches and best practices. Based on the hands-on session results, we will write a paper on design strategies for foot augmentation that will help facilitate more sustainable investigations and design of future foot interfaces.

The increasing proliferation of AI and GenAI requires new interfaces tailored to how their specific affordances and human requirements meet. As GenAI is capable of taking over tasks from users on an unprecedented scale, designing the experience of agency – if and how users experience control over the process and attribution of the outcome – is crucial. As an initial step towards design guidelines for shaping agency, we present a study that explores how properties of AI-generated images influence users’ experience of agency. We use two measures; temporal binding to implicitly estimate pre-reflective agency and magnitude estimation to assess user judgments of agency. We observe that abstract images lead to more temporal binding than images with semantic meaning. In contrast, the closer an image aligns with what a user might expect, the higher the agency judgment. When comparing the experiment results with objective metrics of image differences, we find that temporal binding results correlate with semantic differences, while agency judgments are better explained by local differences between images. This work contributes towards a future where agency is considered an important design dimension for GenAI interfaces.

An implicit assumption in metaphor use is that it requires grounding in a familiar concept, prominently seen in the popular Desktop Metaphor. In human-to-human communication, however, abstract metaphors, without such grounding, are often used with great success. To understand when and why metaphors work, we present a case study of metaphor use in voice teaching. Voice educators must teach about subjective, sensory experiences and rely on abstract metaphor to express information about unseen and intangible processes inside the body. We present a thematic analysis of metaphor use by 12 voice teachers. We found that metaphor works not because of strong grounding in the familiar, but because of its ambiguity and flexibility, allowing shared understanding between individual lived experiences. We summarise our findings in a model of metaphor-based communication. This model can be used as an analysis tool within the existing taxonomies of metaphor in user interaction for better understanding why metaphor works in HCI. It can also be used as a design resource for thinking about metaphor use and abstracting metaphor strategies from both novel and existing designs.

When vibrations are synchronized with our actions, we experience them as material properties. This has been used to create virtual experiences like friction, counter-force, compliance, or torsion. Implementing such experiences is non-trivial, requiring high temporal resolution in sensing, high fidelity tactile output, and low latency. To make this style of haptic feedback more accessible to non-domain experts, we present Haptic Servos: self-contained haptic rendering devices which encapsulate all timing-critical elements. We characterize Haptic Servos’ real-time performance, showing the system latency is <5 ms. We explore the subjective experiences they can evoke, highlighting that qualitatively distinct experiences can be created based on input mapping, even if stimulation parameters and algorithm remain unchanged. A workshop demonstrated that users new to Haptic Servos require approximately ten minutes to set up a basic haptic rendering system. Haptic Servos are open source, we invite others to copy and modify our design.

With most digital devices, vibrotactile feedback consists of rhythmic patterns of continuous vibration. In contrast, when interacting with physical objects, we experience many of their material properties through vibration which is not continuous, but dynamically coupled to our actions. We assume the first style of vibration to lead to hermeneutic mediation, while the second style leads to embodied mediation. What if both types of mediation could be used to design tactile symbols? To investigate this, five haptic experts designed tactile symbols using continuous and motion-coupled vibration. Experts were interviewed to understand their symbols and design approach. A thematic analysis revealed themes showing that lived experience and affective qualities shaped design choices, that experts optimized for passive or active symbols, and that they considered context as part of the design. Our study suggests that adding embodied experiences as a design resource changes how participants think of tactile symbol design, thus broadening the scope of the symbol by design for context, and expanding their affective repertoire as changing the type of vibration influences perceived valence and arousal.

We present Print-A-Sketch, an open-source handheld printer prototype for sketching circuits and sensors. Print-A-Sketch combines desirable properties from free-hand sketching and functional electronic printing. Manual human control of large strokes is augmented with computer control of fine detail. Shared control of Print-A-Sketch supports sketching interactive interfaces on everyday objects – including many objects with materials or sizes which otherwise are difficult to print on. We present an overview of challenges involved in such a system and show how these can be addressed using context-aware, dynamic printing. Continuous sensing ensures quality prints by adjusting inking-rate to hand movement and material properties. Continuous sensing also enables the print to adapt to previously printed traces to support incremental and iterative sketching. Results show good conductivity on many materials and high spatial precision, supporting on-the-fly creation of functional interfaces.

We present TactJam, an end-to-end suite for creating and sharing low fidelity prototypes of on-body vibrotactile feedback. With TactJam, designers can create, record and share vibrotactile patterns online. This opens up new ways of collaboratively designing vibrotactile patterns both in collocated as well as in remote settings. We evaluate TactJam in a two-part distributed online workshop, exploring the design of on-body tactons. Participants were able to successfully use TactJam to learn about tacton design. We present an overview of mappings between tactons and their associated concepts before comparing the results of tactons created using solely a GUI and tactons created through experimenting with placements directly on the body. Conducting both parts of the workshop separately highlighted the importance of designing directly with bodies: less implicit assumptions were made, and designs were guided by personal experience. We reflect on these results and close on deliberations for the future development of TactJam.

We are surrounded by sensing devices. We are accustomed to them, appreciate their benefits, and even create affective bonds and might neglect the implications they might have for our daily life. By presenting Eyecam, an anthropomorphic webcam mimicking a human eye, we challenge conventional relationships with ubiquitous sensing devices and call to re-think how sensing devices might appear and behave. Inspired by critical design, Eyecam is an exaggeration of a familiar sensing device which allows for critical reflections on its perceived functionalities and its impact on human-human and human-device relations. We identify 5 different roles Eyecam can take: Mediator, Observer, Mirror, Presence, and Agent. Contributing design fictions and thinking prompts, we allow for articulation on privacy awareness and intrusion, affect in mediated communication, agency and self-perception along with speculation on potential futures. We envision this work to contribute to a bold and responsible design of ubiquitous sensing devices.

Today’s typical input device is flat, rigid and made of glass. However, advances in sensing technology and interaction design suggest thinking about input on other surface, including soft materials. While touching rigid and soft materials might feel similar, they clearly feel different when pressure is applied to them. Yet, to date, studies only investigated force input on rigid surfaces. We present a first systematic evaluation of the effects of compliance on force input. Results of a visual targeting task for three levels of softness indicate that high force levels appear more demanding for soft surfaces, but that performance is otherwise similar. Performance remained very high (∼ 5% for 20 force levels) regardless of the compliance, suggesting force input was underestimated so far. We infer implications for the design of force input on soft surfaces and conclude that interaction models used on rigid surfaces might be used on soft surfaces.

In traditional body-art, designs are adjusted to the body as they are applied, enabling creative improvisation and exploration. Conventional design and fabrication methods of epidermal interfaces, however, separate these steps. With BodyStylus we present the first computer-assisted approach for on-body design and fabrication of epidermal interfaces. Inspired by traditional techniques, we propose a hand-held tool that augments freehand inking with digital support: projected in-situ guidance assists creating valid on-body circuits and aesthetic ornaments that align with the human bodyscape, while pro-active switching between inking and non-inking creates error preventing constraints. We contribute BodyStylus’s design rationale and interaction concept along with an interactive prototype that uses self-sintering conductive ink. Results of two focus group explorations showed that guidance was more appreciated by artists, while constraints appeared more useful to engineers, and that working on the body inspired critical reflection on the relationship between bodyscape, interaction, and designs.

Many existing explorations of wearables for HCI consider functionality first and wearability second. Typically, as the technologies, designs, and experiential understandings develop, attention can shift towards questions of deployment and wearability. To support this shift of focus we present a case study of the iterative design of electrode sleeves. We consider the design motivations and background that led to the existing, prototype EMS sleeves, and the resultant challenges around their wearability. Through our own design research practice, we seek to reveal design criteria towards the wearability of such a sleeve, and provide designs that optimise for those criteria. We contribute (1) new electrode sleeve designs, which begin to make it practicable to take EMS beyond the lab, (2) new fabrication processes that support rapid production and personalisation, and (3) reflections on criteria for wearability across new eTextile garments.

We present polymerized sports tape as a general purpose prototyping and sensor-design resource. We use it in a somewhat similar manner to how conductive copper tape is often used for fast production of lo-fi electrical prototypes. However, copper tape has a number of drawbacks if one is prototyping with soft materials, textiles, or even directly on the human body. Because it is not elastic, it does not adhere well to such materials. Sports tape, however, has the desired elastic qualities, and additionally is designed to adhere not only to arbitrary objects, but also to human skin. We polymerize sports tape to make it conductive. The resulting conductive tape has a series of electrical properties which make it an exciting sensor-material. It is piezo-resistive. This means its resistance changes with applied forces. It can also be used to create a voltage gradient, which enables simple and precise position sensing. This unique combination of mechanical and electrical properties makes it an exciting and unique prototyping resource.

Tactons are vibrotactile patterns used to convey information. Conventionally, a small set of tactons is used on mobile phone or wearables to notify users of messages or emails received. However, tactons have multiple characteristics that one can vary to design a multitude of vibrotactile patterns. In addition, one can place vibrotactile actuators on different body areas to leverage the spatial dimension and the varying skin sensitivity across the body. Prior work proposed methods to design tactons based on musical or engineering knowledge, but hands-on methods remain scarce. For this studio, we adopt a hands-on approach for composing tactons. We leverage a simple instrument-like device that consists of vibrotactile actuators connected to dedicated buttons for designing tactons. While pressing a button, the corresponding actuator vibrates. Users can vary several characteristics of the tactons (e.g., duration and amplitude), and experience them in real time during the design process by placing the actuators on the body. These tactons can then be shared with other participants of the studio. Our goal with this studio is to observe users compose tactons collaboratively using a hands-on device, and better understand how they lay out the vibrotactile actuators on their body and what differences these layouts make in the tactile experience.

We present a method for enabling arbitrary textiles to sense pressure and deformation: In-situ polymerization supports integration of piezoresistive properties at the material level, preserving a textile's haptic and mechanical characteristics. We demonstrate how to enhance a wide set of fabrics and yarns using only readily available tools. To further support customisation by the designer, we present methods for patterning, as needed to create circuits and sensors, and demonstrate how to combine areas of different conductance in one material. Technical evaluation results demonstrate the performance of sensors created using our method is comparable to off-the-shelf piezoresistive textiles. As application examples, we demonstrate rapid manufacturing of on-body interfaces, tie-dyed motion-capture clothing, and zippers that act as potentiometers.

Human-Computer Integration (HInt) is an emerging paradigm in which computational and human systems are closely interwoven. Integrating computers with the human body is not new. however, we believe that with rapid technological advancements, increasing real-world deployments, and growing ethical and societal implications, it is critical to identify an agenda for future research. We present a set of challenges for HInt research, formulated over the course of a five-day workshop consisting of 29 experts who have designed, deployed and studied HInt systems. This agenda aims to guide researchers in a structured way towards a more coordinated and conscientious future of human-computer integration.

Many features of materials can be experienced through tactile cues, even using one's feet. For example, one can easily distinguish between moss and stone without looking at the ground. However, this type of material experience is largely not supported in AR and VR applications. We present bARefoot, a prototype shoe providing tactile impulses tightly coupled to motor actions. This enables generating virtual material experiences such as compliance, elasticity, or friction. To explore the parameter space of such sensorimotor coupled vibrations, we present a design tool enabling rapid design of virtual materials. We report initial explorations to increase understanding of how parameters can be optimized for generating compliance, and to examine the effect of dynamic parameters on material experiences. Finally, we present a series of use cases that demonstrate the potential of bARefoot for VR and AR.

Around-device interaction methods expand the available interaction space for mobile devices; however, there is currently no way to simultaneously track a user's input and provide haptic feedback at the tracked point away from the device. We present Magnetips, a simple, mobile solution for around-device tracking and mid-air haptic feedback. Magnetips combines magnetic tracking and electromagnetic feedback that works regardless of visual occlusion, through most common materials, and at a size that allows for integration with mobile devices. We demonstrate: (1) high-frequency around-device tracking and haptic feedback; (2) the accuracy and range of our tracking solution which corrects for the effects of geomagnetism, necessary for enabling mobile use; and (3) guidelines for maximising strength of haptic feedback, given a desired tracking frequency. We present technical and usability evaluations of our prototype, and demonstrate four example applications of its use.

This paper provides resources and design recommendations for optimizing position input for pressure sensor matrices, a sensor design often used in eTextiles. Currently applications using pressure matrices for precise continuous position control are rare. One reason designers opt against using these sensors for continuous position control is that when the finger transitions from one sensing electrode to the next, jerky motion, jumps or other non-linear artifacts appear. We demonstrate that interdigitation can improve transition behavior and discuss interpolation algorithms to best leverage such designs. We provide software for reproducing our sensors and experiment, as well as a dataset consisting of 1122 swipe gestures performed on 17 sensors.

Many shape-changing interfaces use an array of actuated rods to create a display surface; each rod working as a pixel. However, this approach only supports pixel height manipulation and cannot produce more radical shape changes of each pixel (and thus of the display). Examples of such changes include non-horizontal pixels, pixels that overhang other pixels, or variable gaps between pixels. We present a concept for composing shape-changing interfaces by vertically stacking tilt-enabled modules. Together, stacking and tilting allow us to create a more diverse range of display surfaces than using arrays. We demonstrate this concept through TiltStacks, a shape-changing prototype built using stacked linear actuators and displays. Each tiltable module provides three degrees of freedom (z-movement, roll, and pitch); two more degrees of freedom are added through stacking modules (i.e., planar x- and y-movement).

Can we experience haptic textures in mid-air? Typically, the experience of texture is caused by vibration of the fingertip as it moves over the surface of an object. This object's surface also guides the finger's movement, creating an implicit motion-to-vibration mapping. If we wish to simulate a texture in mid-air, such guidance does not exist, making the choice of motion-to-vibration mapping non-obvious. We evaluate the experience of moving a pointer with four different motion-to vibration mappings in an interview study. We found that some mappings lead to a perception shift, transforming the experience. When this occurs, the pointer is no longer perceived as vibrating, interactions become more pleasurable, and users have an increased experience of agency and control. We discuss how to leverage this in the design of haptic interfaces.

In this studio, we will improve our tailoring skills in order to better integrate technology into clothing. Leveraging the volumetric nature of clothing, we will create eTextile interfaces that fit the shape of the body and are designed around how bodies move. This studio will consist of a short masterclass led by an expert fashion designer followed by materials experimentation and working on individual projects. We will introduce and demo a variety of ways to design and implement 3-dimensional eTextiles as well as how to integrate them with interactive systems.

We present zPatch: an eTextile patch for hover, touch, and pressure input, using both resistive and capacitive sensing. zPatches are made by layering a piezo-resistive material between silver-plated ripstop, and embedding it in non-conductive fabric to form a patch. zPatches can be easily ironed onto most fabrics, in any location, enabling easy prototyping or ad hoc modifications of existing garments. We provide open-source resources for building and programming zPatches and present measures of the achieva-ble sensing resolution of a zPatch. A pressure based targeting task demonstrated users could reliably hit pressure tar-gets at up to 13 levels, given appropriate feedback. We demonstrate that the hybrid sensing approach reduces false activations and helps distinguish between gestures. Finally, we present example applications in which we use zPatches for controlling a music player, text entry and gaming input.

Vibrotactile actuation is mainly used to deliver buzzing sensations. But if vibrotactile actuation is tightly coupled to users' actions, it can be used to create much richer haptic experiences. It is not well understood, however, how this coupling should be done or which vibrotactile parameters create which experiences. To investigate how actuation parameters relate to haptic experiences, we built a physical slider with minimal native friction, a vibrotactile actuator and an integrated position sensor. By vibrating the slider as it is moved, we create an experience of texture between the sliding element and its track. We conducted a magnitude estimation experiment to map how granularity, amplitude and timbre relate to the experiences of roughness, adhesiveness, sharpness and bumpiness. We found that amplitude influences the strength of the perceived texture, while variations in granularity and timbre create distinct experiences. Our study underlines the importance of action in haptic perception and suggests strategies for deploying such tightly coupled feedback in everyday devices.

Second Skin is a stretch electronic textile (eTextile) garment that adapts to the shape of the body. It is designed as both a provocative outer shell and a functioning undergarment, or foundation garment. Using elastic materials and building on techniques from cutting edge sportswear manufacturing, it facilitates wearable electronics which can recede from the users attention. We consider Second Skin as a platform that other researchers can use to add functionality of their own. In our exhibit, people can interact with a prototype version of Second Skin as well as with material samples to gain a better understanding of its look, feel and material capabilities.

In this essay I outline my current work on motion and haptic perception. I start from my perspective on Embodied Interaction, explaining why I chose to design interfaces focusing on the body in motion. I then describe how my research has moved from creating devices that are not negatively influenced by the moving body, to devices that take advantage of the moving body. This research path has led me to investigating how vibrotactile information and proprioceptive cues are integrated and together give rise to an experience of texture. I am searching for generalizable patterns in how we process haptic information, to apply it to other modalities. I believe that this will allow us to create new embodied experiences of sensations we previously only had indirect access to.

In this paper, we explore how shape changing interfaces might be used to communicate emotions. We present two studies, one that investigates which shapes users might create with a 2D flexible surface, and one that studies the efficacy of the resulting shapes in conveying a set of basic emotions. Results suggest that shape parameters are correlated to the positive or negative character of an emotion, while parameters related to movement are correlated with arousal level. In several cases, symbolic shape expressions based on clear visual metaphors were used. Results from our second experiment suggest participants were able to recognize emotions given a shape with a good accuracy within 28% of the dimensions of the Circumplex Model. We conclude that shape and shape changes of a 2D flexible surface indeed appear able to convey emotions in a way that is worthy of future exploration.

The small displays of smartwatches make text entry difficult and time consuming. While text entry rates can be increased, this continues to occur at the expense of available screen display space. Soft keyboards can easily use half the display space of tiny-screened devices. To combat this problem, we present Invisiboard: an invisible text entry method using the entire display for both text entry and display simultaneously. Invisiboard combines a numberpad-like layout with swipe gestures. This maximizes input target size, provides a familiar layout, and maximizes display space. Through this, Invisiboard achieves entry rates comparable or even faster than an existing research baseline. A user study with 12 participants writing 3264 words revealed an entry rate of 10.6 Words Per Minute (WPM) after 30 minutes, 7% faster than ZoomBoard. Furthermore, with nominal training, some participants demonstrated entry rates of over 30 WPM.

Technology mediates the relationship we have with ourselves, others and the world around us. This paper describes an installation that explores minimum conditions for mediation, using a touch sensitive telerobot with an actuated head. People wishing to use the telerobot wear a head-mounted display and a head-tracking device. This enables them to see what the robot sees while the movements of the robot's head are synchronized to those of their own head. Vibration motors are attached to the user's body and vibrate when the robot is touched. This installation allows for playful exploration of mediation as well as adopting other perspectives through technology. When interacting with others through the robot, the installation enables reflection on the role of touch in communication and technology. Used by one's self, the installation allows us to perceive our bodies from a third person perspective.

ReFlex is a flexible smartphone with bend input and active haptic feedback. ReFlex's features allow the introduction of sensations such as friction or resistance. We report results from an experiment using ReFlex in a targeting task, as well as initial users' reactions to the prototype. We explore both absolute and relative tactile haptic feedback, paired with two types of bend input mappings: position-control and rate-control. We observed that position-controlled cursors paired well with relative bend feedback, while rate-controlled cursors paired well with absolute bend feedback to indicate targets. We also explored an eyes-free condition. Results suggest that while eyes-free, haptic feedback conditions were more error-prone than visual-only conditions, the size of the error was relatively small, and users were able to complete the task in all cases. We present two application scenarios that take advantage of the unique input and output modalities of ReFlex and discuss its potential for within document navigation.

We present a system for cross-device interactions and interaction scenarios based on touch events between devices. DisplayPointers were designed to explore the affordances of manipulating physical display-objects in multi-device environments. The interactions presented in this paper are an exploration of what a touch between two devices means; a search for a language of physical cross-device interactions. DisplayPointers are implemented by augmenting off-the-shelf devices: our system is fully mobile and can be easily implemented by other researchers and designers.

Mobile devices can provide people with contextual information. This information may benefit a primary activity, assuming it is easily accessible. In this paper, we present DisplaySkin, a pose-aware device with a flexible display circling the wrist. DisplaySkin creates a kinematic model of a user's arm and uses it to place information in view, independent of body pose. In doing so, DisplaySkin aims to minimize the cost of accessing information without being intrusive. We evaluated our pose-aware display with a rotational pointing task, which was interrupted by a notification on DisplaySkin. Results show that a pose-aware display reduces the time required to respond to notifications on the wrist.

We present GoonQuad, an emotive quadruped capable of expressing emotional behaviours as a response to human touch. GoonQuad comprises five prerecorded states: angry, cheerful, sleepy, confused and a baseline breathing state. Each state is triggered by human touch in areas specified by the eyebrows and a tattoo, painted with conductive ink. Moreover, GoonQuad is capable of recording and replaying movements via direct user manipulation. To enable the robot to record and replay new motions, analog feedback servos were embedded in the 3D printed structure. Our aim was to develop a system where users can interact with a robot naturally and the robot can adapt to this natural interaction.

We present Mood Fern: digital flora which responds to touch. Depending on the length and intensity of the touch a subset of leaves physically react. The leaves respond on a spectrum of slight oscillation, imitating the effects of swaying in a slight breeze, to complete deformation, as if they were physically trying to respond in a similar manner. Mood Fern's reference to nature highlights its appeal to calm computing. Painted capacitive sensors mimic the appearance of leaf veins and Flexinol SMA wire is used to actuate The Mood Fern's paper structures.

In this paper we describe A Flock of Birds, an interactive, robotic origami art installation. The art installation explores folding paper as a fusion of input, output and computation while simultaneously providing its audience with a fun and exciting experience.

With WristFlicker, we detect wrist movement through sets of stretch sensors embedded in clothing. Our system supports wrist rotation (pronation/supination), and both wrist tilts (flexion/extension and ulnar/radial deviation). Each wrist movement is measured by two opposing stretch sensors, mimicking the counteracting movement of muscles. We discuss interaction techniques that allow a user to control a music player through this lightweight input.