Current Projects
Haptics
Haptics research is based in User-lab and draws on team expertise, user-centred methodologies and a range of qualitative and empirical testing methods derived from a range of disciplines. Current projects interleave strands of fundamental research in multi-modal perception with computer interface and application development and evaluation relevant to the environment of the art and design community and professional practitioners.
Projects
Surface Attractions: How Do Artists Chose Their Media?
This study addresses fundamental questions of users’ subjective engagement with objects, materials and surfaces by investigating perceptual factors implicated in artists’ decision making processes in medium selection, specifically, their choices of different types of pencils and papers for drawing.
Artists are generally very specific when choosing their media to create a work of fine or applied art (Akyuz, 1995; Prytherch, 2003). This has long been recognised both in professional practice and in the teaching of the arts. “The materials in which the artist works are of the greatest importance in determining what qualities in the infinite complexity of nature he selects for expression…. Every material he works with possesses certain vital qualities peculiar to itself, and it is his business to find out what these are and use them to the advantage of his drawing.” (Speed, 1923)
Pragmatic factors such as the cost of materials, their ease of availability and their ease of use play a part in these choices and clearly the quality of visual aesthetic of the final product is recognised by artists as playing a major role in their choice, however other factors relating to how a tool and material ‘feel’ in use, the haptic interaction also has a highly significant function in the media selection process (Prytherch & Jerrard, 2003).
Following a pilot study conducted in 2005 in collaboration with SyMoN Lab, UBIRM and supported by the PaperScience group at the University of Manchester, we propose a general hypothesis that though the initial conscious judgement of “quality” may be visual, (as it is in judging the output object) the haptic properties of the medium/tool combination are of great significance in the assessment of suitability with regard to the making process, and may in many instances be dominant, though not necessarily conscious. The term “quality” in this instance is taken to include both notions of material properties or characteristics and the associated “value” judgement of certain properties being “better” than others. This latter notion presupposes an experienced awareness of both the intended process and the desired outcome and it can be stated that any judgements based on criteria of “fit for purpose” are predicated on this type of developed tacit knowledge. For this reason, artists, both student and professional are considered to constitute a suitable “expert group” for study.
- Akyuz, U. (1995). Creation of a Model for 2-Dimensional Pencil Marks. PhD Dissertation, De Montford University.
- Prytherch, D. (2003). Haptic Feedback in Art Making Processes with Particular Reference to Computer Interface Design, PhD Dissertation, Birmingham City University.
- Speed, Harold. (1923). The Practice and Science of Drawing. Seeley, Service and Co. Ltd., London. p. 271
- Prytherch, D. & Jerrard, R., (2003). Haptics, the Secret Senses; the covert nature of the haptic senses in creative tacit skills. Proceedings of Eurohaptics 2003, pp.384-396.
Touching Ghosts in Museums
This is a pilot study in collaboration with the Potteries Art Gallery and Museum examining the potential for using haptic interface devices to provide touch experiences of virtual museum objects and raising issues regarding the introduction of haptic and related technology into museums. Questions regarding the variety of tools currently available, the limitations of such systems and their cost effectiveness, together with fundamental issues relating to the contribution that haptic technology might make to the overall user experience and the possibilities for enactive learning systems and creative technological engagement with cultural artefacts are being considered.
This project explores some of the reasons why people visit museums, the expectancy for visitor learning and novel techniques from the area of virtual reality (VR) for communicating the nature of artefacts through the sense of touch. Haptic, or force-feedback devices, can allow users to feel and touch virtual objects with varying degrees of realism and in the heritage setting might be used to allow visitors to museums (whether virtual or real) to handle virtual representations of priceless and rare artefacts without subjecting the real objects to risk. Applied this way, haptics can be used to add an extra dimension to learning and exploration and to improve access to cultural materials. New technology is becoming increasingly commonplace in public institutions, and the use of additional sensory experiences, including touch communicated through simulations can contribute to the capacity for learning and greater visitor participation.
Such technologies from the area of Virtual Reality (VR), that provide force-feedback through hand held devices, are now becoming small and cheap enough to be incorporated into museum exhibitions. What remains unexplored is whether these systems can add value to visitor experiences.
We are conducting preliminary testing to establish a case for further study. Initially we will focus on 3 fundamental questions;
- What does physical touch add to the museum experience?
- Does virtual touch differ?
- What kinds of objects do people want to touch?
Haptics and Design Processes
Haptic perception plays a significant role in many art and design processes and seems fundamental to many aspects of human activity including dextrous craft skill development, and as a source of pleasure and intrinsic motivation in arts activities in general. A general thread of our research investigates the role of haptic perception in the context of aesthetic concept development and the potential for the development and implementation of advanced computer systems and touch enabled applications and interfaces in related processes, from concept design through to actual realisation, linking design software with rapid prototyping and computer aided manufacturing.
The specific characteristics of touch in craft and design activity are being considered both in relation to real-world craft activity and to human computer interaction. In addition to a consideration of the technological and interface issues, a study of haptic activity in a range of defined craft processes is being undertaken in collaboration with staff and students from the School of Jewellery and other collaborators within BIAD including members of the Birmingham Design Research Group as well as creative industry professional practitioners. Application based studies include work on interface issues relating to the adoption of digital technologies within the fields of 3D design and sculpture, and a specific, though currently unrealised interest relates to the potential capacity for such technologies to assist creative inclusion for people with physical and perceptual disabilities.
This work contributes to the development of haptics in User-lab, providing a service and knowledge based facility for developing, testing and evaluating potential and actual haptic interfaces and software applications relevant to the assimilation of new technologies by creative practitioners.
Contact: david.prytherch@bcu.ac.uk
CDCI, Birmingham Design Research Group