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    New VR tech simulates touching walls and other stuff

    A man wears a VR headset inside The 'Le Cri VR' installation of the Venice Virtual Reality At Lazzaretto Vecchio Island during the 76th Venice Film Festival at on September 04, 2019 in Venice, Italy. (Credit: Amy T. Zielinski/Getty Images)

    A new device uses multiple strings attached to the hand and fingers to simulate the feel of obstacles and heavy objects in virtual reality, researchers report.

    Today’s virtual reality systems can create immersive visual experiences, but seldom allow users to feel anything—particularly walls, appliances, and furniture.

    In comparison, the new device locks the strings when the user’s hand is near a virtual wall, for instance, to simulate the sense of touching the wall. Similarly, the string mechanism enables people to feel the contours of a virtual sculpture, sense resistance when they push on a piece of furniture, or even give a high five to a virtual character.

    Cathy Fang, who will graduate from Carnegie Mellon University next month with a joint degree in mechanical engineering and human-computer interaction, says the shoulder-mounted device takes advantage of spring-loaded strings to reduce weight, consume less battery power, and keep costs low.

    A young woman wearing a virtual reality headset and the shoulder mounted device touches a virtual lion statue
    A new device developed at Carnegie Mellon University uses multiple strings attached to the hand and fingers to simulate the feel of obstacles and heavy objects in virtual reality environments. (Credit: Carnegie Mellon)

    “Elements such as walls, furniture, and virtual characters are key to building immersive virtual worlds, and yet contemporary VR systems do little more than vibrate hand controllers,” says Chris Harrison, assistant professor in the Human-Computer Interaction Institute (HCII).

    User evaluation of the multistring device, as reported by coauthors Harrison, Fang, Robotics Institute engineer Matthew Dworman, and HCII doctoral student Yang Zhang, found it was more realistic than other haptic techniques.

    “I think the experience creates surprises, such as when you interact with a railing and can wrap your fingers around it,” Fang says. “It’s also fun to explore the feel of irregular objects, such as a statue.”

    Other researchers have used strings to create haptic feedback in virtual worlds, but typically they use motors to control the strings. Motors wouldn’t work for the researchers, who envisioned an affordable system light enough for users to wear.

    “The downside to motors is they consume a lot of power,” Fang says. “They also are heavy.”

    Instead of motors, the team used spring-loaded retractors, similar to those seen in key chains or ID badges. They added a ratchet mechanism that an electrically controlled latch can rapidly lock.  The springs, not motors, keep the strings taut. Only a small amount of electrical power is needed to engage the latch, so the system is energy efficient and operates on battery power.

    The researchers experimented with a number of different strings and string placements, eventually concluding that attaching one string to each fingertip, one to the palm, and one to the wrist provided the best experience. A Leap Motion sensor, which tracks hand and finger motions, attaches to the VR headset. When it senses that a user’s hand is in proximity to a virtual wall or other obstacle, the ratchets engage in a sequence suited to those virtual objects. The latches disengage when the person withdraws their hand.

    The entire device weighs less than 10 ounces. The researchers estimate that a mass-produced version would cost less than $50.

    Fang says the system would be suitable for VR games and experiences that involve interacting with physical obstacles and objects, such a maze. It might also be useful for visits to virtual museums. And, in a time when physically visiting retail stores is not always possible, “you might also use it to shop in a furniture store,” she adds.

    The researchers had planned to share their paper at the Conference on Human Factors in Computing Systems, now canceled due to the COVID-19 pandemic. The paper appears in the conference proceedings in the Association for Computing Machinery’s Digital Library.

    Source: Carnegie Mellon University

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    New game takes virtual reality beyond sight and sound

    (Credit: Getty Images)

    A new virtual reality game makes players use more of their senses than other VR games, including touch, sense of heat, and smell.

    Four sensory streams are fused together simultaneously in the game to achieve remarkable realism.

    Called The Lost Foxfire, the 10-minute game engages a player’s senses of vision, audition (sense of hearing), olfaction (sense of smell), somatosensation (sense of touch), and thermoception (ability to sense intensity of heat). Besides relying on their vision and hearing, game players will also need to take cues from their senses of smell and touch to successfully complete the game.

    “The additional sensory cues in the form of heat and smell create a more immersive gameplay environment for the players, something rarely seen in current games.”

    Most conventional virtual reality games use headsets and haptic bodysuits to mimic and amplify sensory feedback, for instance, to deliver the sensation of a cool breeze to match the visual scene of the moment. In contrast, the game set researchers from Keio-NUS CUTE Center at the National University of Singapore developed brings VR multisensory bodysuits to a new level where players use real-time, life-like sensory feedback to make decisions that will directly affect the outcome of the gameplay.

    The entire game system comprises a virtual reality headset that researchers paired with a configurable multisensory suit that delivers thermal, wind, and olfactory stimuli to the players in order to assist them in the game.

    The adjustable suit has five heat modules that enable players to sense heat on the front, back, and the sides of their necks, as well as on their faces. The thermal stimuli can be calibrated and customized to an individual’s tolerance of warmth. When players encounter a fox character in the game, they will catch a whiff of the scent of apples, a favorite fruit of foxes. As players get close to fire in the game, they can feel the heat it emits.

    “The set up for The Lost Foxfire game system is entirely portable so it can be put up in any room. The additional sensory cues in the form of heat and smell create a more immersive gameplay environment for the players, something rarely seen in current games,” says Yen Ching-Chiuan, an associate professor and codirector of the Keio-NUS CUTE Center who supervises on the project.

    The team comprising hardware and product engineers, artists, technology researchers, and designers took nine months to develop the experimental game—from its conception, coding, and building of special hardware, to graphic designing and animating. They have filed a patent for the technology behind the configurable multisensory suit.

    Although “The Lost Foxfire” was first developed as an experimental game, its immersive simulation and experiential technology can be potentially extended to other applications. Besides paving the way for more immersive gaming experience to come, it could, for instance, be used to simulate unique scenarios for training purposes or to demonstrate fire safety so that users can safely experience a first-hand feel of the full scenario without the danger.

    The Lost Foxfire debuted at the Tokyo Game Show 2019 in September.

    The National Research Foundation, Prime Minister’s Office, Singapore under its International Research Centres in Singapore Funding Initiative, supported the work.

    Source: National University of Singapore