Presenting Pseudo-resistive Force of a Spring by Visual and Auditory Stimuli

Lielums: px
Sāciet demonstrējumu ar lapu:

Download "Presenting Pseudo-resistive Force of a Spring by Visual and Auditory Stimuli"

Transkripts

1 TVRSJ Vol.23 No.4 pp , 2018 *1 *2 *1 Presenting Pseudo-resistive Force of a Spring by Visual and Auditory Stimuli Akito Usui *1, Musashi Nakajima *2, and Yoshihiro Kanno *1 Abstract --- In recent years, researches to present perceptual information using the illusion caused by cross-modal phenomenon are actively conducted. Especially the illusion on tactile and haptic sensation is called Pseudo Haptics and considered as a method of haptic sensation presentation. In these studies, only the visual stimulus is presented to induce illusion, but there are still problems such as the weakness of the sensation obtained when considering actual use. In this study, we researched whether we can obtain sensation not only from visual stimulation but also from auditory stimulation. Specifically, experiments were conducted to obtain pseudo force sense from interaction with elastic virtual object. As a result of the experiment, a pseudo force sense was obtained from auditory stimulation. In addition, by presenting visual stimuli and auditory stimuli in combination, stronger pseudo force sense was obtained. Also, we applied the pseudo force sense by auditory stimuli to an electronic musical instrument and produced a prototype. As a result of the evaluation experiment, it turned out that the users enjoyed the prototype. Keywords: pseudo haptic force, cross-modality, illusion, visual stimulus, auditory stimulus 1 VRAR VRAR [1] [2] Pseudo-haptics [3] *1 *2 *1 Waseda University *2 Tokyo Polytechnic University [4] CG [5] HMD VRAR VR AR HMD AR HMD VRAR 271

2 27 # ɮʱʢʧʴʉ ʦʥʇʚʰˀʈ HMDˆɨNjƈɚɡĐ6 ɩ ȣɮéɒ ǘɚɧɍʀɽɏɬǒɞʀɘɩɨõǘãș ǔʄqƈɜʀƃɛ[6]ɼˈʚʾ ʑʘʼʢʦɬɽʀ Ljɓĉ oɮäɤèɿqșǔʄđ6 ɮV*ʄȈ¾ Wəɞʀ ɘɩɬɽɤɧǥŶɜʀƃƐ[7]ɒôɗɾʁʀˉɚɑɚˈ[6] ɨ rəʁɡșǔɯõçɨɍɿˈ[7]ɨŭɍɾʁɡéņ ɬɻȟŲɒɌʀˉ ȣɮǻ'v*ɩǒɑɖ ɮǺ'V *ɮɝʁʄHŭɜʀŴ$Qǔɯˈɝʁɒ ɓɕɫɿɜɔ ʀɩȏwãɮɸɒūɛʀɘɩɒ rəʁɧɐɿ[8]ˈɽɿ ɓɫŵ$qǔʄòʀéņɬɥɍɧɯĝɢǫȱɒľəʁ ɧɍʀˉ ɘʁɷɨɬôɗɡƃƐɯǓǔJŚɬ WʄRɏʀɘ ɩɨā$ǘqǔɮǥŷʄĭǜɚɧɍʀɒˈòɾʁʀã ǔʄȴɺʀɡɺɬɯˈɽɿǐlÿɫjśʄqƈɜʀɘɩ ɒ ǐɢɩƴɏɾʁʀˉ ɒ ãʄȇɛɧ Ȓà ʄ ƁǔɜʀOlɒˈǓǔ 83%ˈƷǔ 11%ˈ ǔ 3.5%ˈǘ ǔ 1.5%ˈtǔ 1.0%ɩǙʃʁɧɍʀ[9]ɽɎɬǓǔɑɾɮ ƁǔɳɮÎȬɯȣƓɤɧ ɓɍɒˈǔǔ ɮà ɻ Ƥɸlʃɞɧʐˁʚʸ ʠʿɫJŚʄqƈɜʀɘɩɨɽ ɿŧ ɬȁɍãǔʄÒɾʁʀɩƴɏɾʁʀˉ ɟɮ ɨɻǔǔɮķɬ ɍolʄ^ɺɧɍʀʒǔɬ ʼnźɜʀˉƷǔJŚʄqƈɚɧʐˁʚʸ ʠʿɫż *ŭɮuĥʄòɽɏɩɜʀƃɛɩɚɧɯˈNjàjśɩȫ JŚʄqƈɜʀɘɩɬɽɤɧƁǔəʁʀàVɬɥɍɧ ǫɴɡɻɮ[10]ɼˈv~ȫʄʮʇ ʧʪʢʐɜʀɘɩɬɽ ɿȱãʄñÈɜʀʘʚʤʶʄúĪɚɡɻɮ[11]ɒôɗɾ ʁʀˉɷɡˈǘǔɬȞɜʀɩɘʂɨɯˈƷǔJŚɒǘǔ ŸɫƟəFćɬbɶɜÎȬʄĬǛɚɡɻɮ[12]ɒɌʀˉ ɡɢɚɘʁɯˈqƈɚɡʤʐʚʡʹɬƷǔʮʇ ʧʪʢʐ ʄRɏʀɩƟəFćɬ WɒǶɓʀɩɍɎâtlɍɒÉ ɕˈ0 ɑɾǘǔʄqƈɜʀɻɮɨɯɫɍˉɷɡˈ PHANToM ɩuɰʁʀǘǔqƈnjʊʄhŭɚɧ áÿ ɫNjȫʄgɕɮɩmēɬˈıɉɫnjƒȫʄqƈɚɧǥ ǮəʁʀšŨŸNßɬɥɍɧǫɴɡɻɮ[13]ɼˈ ȳ arƶɮó9ɮʟʢʰɬ ɚɧʬ ʰȫʄqƈɜʀɘɩ ɨɓǔɬ WɒɌʀɑǫɴɡɻɮ[14]ɒɌʀˉɘʁɾɮ ƃɛɬȟɚɧɯǘǔqƈnjʊɬɽɤɧ ȣɬǘǔʄq ƈɚɡȣɬȫʄ Rɚɡ lɮɓǔ WʄĬǛɚɧɐ ɿˈĶīnjƱɬɽʀǘQǔɼǓǔɬɽʀĀ$ǘQǔɒ ÒɾʁɫɍţäɨˈƷǔJŚɒĀ$ǘQǔʄūɸɢɜ hƻßɬɥɍɧɯďɾɑɬəʁɧɍɫɍˉɷɡˈɘʁɾ ɮƃƐɨɯš'ʄgɕɩɍɎʈ ʟʽʐʘʼ ɑɾòɾʁ ʀš'ɮêqßɬſźɚɧɍʀɒˈ ɬɻɊïɜɋˈɊÄ ɕɋˈɊùɹɋˈɊɱɭʀɋɫɪˈš'ɩɮ ıɫʈ ʟʽʐ ʘʼ ʄȇɛɧQǔɒÒɾʁʀˉɘɎɚɡʈ ʟʽʐʘʼ ɬſźɜʀɘɩɨˈɽɿ ıɫqǔ'ȳʄ"ɏʔ ʤ ʣ PCɒěÏɨɓˈ'ȳ ʋ ʟʤʈ ʷ ʦ*xɼƸĭ ǜʈʘʵʺˀ ʟɫɪɳɮÙŭɬɥɫɒʀɩƴɏɡˉ ɟɘɨĞƃƐɨɯˈ ȣɮǻ'v*ʄɟɮɷɷcđ `0_n Vol.23, No.4, 2018 ɜʀ áš'ɮǔǔjśɬ ɚɧˈƷǔJŚʄRɏʀ ɘɩɨĀ$QǔʄǥŶəɞʀɘɩɒɨɓʀɑˈɷɡ á š'ɮvɓʄ WəɞɧĀ$QǔʄǥŶɜʀǓǔJŚ ɬ ɚɧˈƷǔJŚʄƤɸlʃɞɧqƈɜʀɘɩɨÒɾ ʁʀãǔʄɽɿÉɺɾʁʀɑʄĬǛɚɡˉ9ɮƃƐ,ɽ ɿˈǺ'V*ʄcĐɜʀǓǔJŚɮV*Ȗʄ&őɜʀ ɘɩɨŴ$QǔʄÒɾʁʀɘɩɒ rəʁɧɍʀɡɺˈ ĞƃƐɨɯǓǔJŚɮV*Ȗ&őɬɽʀŴ$Qǔq ƈéņɬʒǔjśʄƥɸlʃɞˈɟɮuĥʄĭǟɚɡˉ <'ŸɬɯˈɷɝǓǔJŚɩɚɧˈÊQßɮɌʀɊɰɭɋ ɮ áš'ʄɋ#ưəɞʀɋɩɍɏʈ ʟʽʐʘʼ ɮǓǔ ŸɫV*Ȗʄ&őəɞɧqƈɚɡˉɷɡƷǔJŚɩɚɧˈ ɟɮʈ ʟʽʐʘʼ ɬlʃɞɡȫʄqƈɜʀɘɩɨĀ$ QǔǥŶɮĚŝʄƆɑɺɡˉɊɰɭʄ#ƯəɞʀɋɩɍɎ ʈ ʟʽʐʘʼ ʄȐʅɢŨůɩɚɧɯˈ9LjƃƐɬɐɍ ɧÊQßɬſźɚɡɻɮɒ ɍɘɩɩˈɋɰɭɋɯǩɻɒ Ɓɤɧɍʀš'ɨɌɿˈʈ ʟʽʐʘʼ ʄʈʷ ʙɚɼɜ ɍɘɩɒôɗɾʁʀˉ ɷɡˈĀ$QǔɮÙŭ,ɩɚɧˈĀ$QǔʄHŭɚɡ ȧ Į}ɮI*ʄǡɸˈǠ-ʄɐɘɫɤɡˉɘɮI* ɬɐɖʀƺĕbɲźŸɬɥɍɧɯ 4 ƔɨǢɚɕȂɴʀˉ 2 Mx B 2.1 [\ B ǓǔJŚɬɯˈCG ɨNjŧəʁɡɋɰɭʍʯʙʊʐʦɋ bɲʻ ʗɮ ȣɮéɮvɓɬȃñɜʀɋéʍʯʙʊ ʐʦɋɮˋɥɮ áš'ɒpɷʁʀ 1ˆˉéɮVɓɬȞ ɚɧɯ Leap Motion ƉɮɊLeap Motion[15]ɋɩuɰʁʀ =džəʁɡǵ ƫʎʷʽɩǵ ƫ LED ɬɽɤɧʻ ʗ ɮ éɩ 10 ĞɮóɮVɓʄŤƓɚɧǤǮɜʀɘɩɒɨ ɓʀʥʪʈʚʄ+ŭɜʀˉǥǯɚɡv*ʄǔǔjśɬʾ ʆʿʟʈʶcĐəɞʀɘɩɨˈʻ ʗɯɘɮɊéʍʯʙʊ ʐʦɋʄ ȣɮƽdɮéɮɽɏɬêɏɘɩɒɨɓʀˉ Mu [\ B Fig.1 Visual stimulus presented ʻ ʗɯɊéʍʯʙʊʐʦɋʄ+ŭɚɧɊɰɭʍʯʙʊ ʐʦɋɮ9ɮɐɻɿʄùɹɘɩɒɨɓʀˉɘɮţäɨɊéʍ ʯʙʊʐʦɋʄµjɬVɑɜɩɊɰɭʍʯʙʊʐʦɋɯVɓ 272

3 R d[m] R= d (1) R M[m] M=0.5 d 0.7 d 2 (2) 2[7] Fig.2 Actual motion amount and presented motion amount Unity Technologies Unity[16] 2.2 (3) IIR x=0.9 x +0.1 d (3) x [m]x x d [m] Unity 60 fps A t [s](3) x [m](4) A=sin (20(1+30sin 600xt) xt) (4) (4) LFO LFO -290x ~ 310x [Hz] 1 300x Cycling 74 Max[17] MacBook Air Early 2015OS HMDHMZ-T3SONY MDR-CD900STSONY

4 27 # 3.3 $m8 ȳġ ɩɚɧˈɋǔǔjś V*Ȗʄ&őəɞɫɍˆ ɮɸqƈɋʄġ A IJŕJŚˆˈɊǓǔJŚ V*Ȗʄ &őəɞʀˆɮɸqƈɋʄġ BˈɊǓǔJŚ V*Ȗʄ &őəɞɫɍˆɩʒǔjśʄqƈɋʄġ CˈɊǓǔJŚ V*Ȗʄ&őəɞʀˆɩƷǔJŚʄqƈɋʄġ D ɩɚ ɧǞ ɚɡˉ ȳarƶɯç 14 n ;yűßˈº»ȶ ȺȽȸȻ ĻˆɨɌɤɡˉ <, Fig.3 System configuration `0_n Vol.23, No.4, 2018 ɮŨůɩɚɧˈĞ ȳɯ HMD ʄnjſɜʀɡɺˈ ȳē ȝɮțěwɬɽʀŵtʄȑɖʀɘɩˈɷɡarƶ Ɍ ɡɿɮ ȳēȝʄƃưɜʀɘɩɨˈɽɿ ɕɮaRƵɑɾ ʥ ʟʄdȤɜʀâ ɒɍɤɡˉəɾɬˈk ȳarƶ ɬ ɚɧɟʁɠʁųɫʀʽ ʠʶɫȭ½ɨġ ʄqƈ ɜʀɘɩɨˈ ȳȭ½ɬɽʀuĥɯ ȳarƶȝɨʽ ʠʶWəʁʀɩFćɚɡˉ kġ ɬɐɖʀǖ ēȝɯˈarƶɒɋɰɭʍʯʙ ʊʐʦɋʄęeɬùʅɢēŝɑɾ 10 ƍȝɩɚɡˉɟɮȝ arƶɯɋɰɭʍʯʙʊʐʦɋʄƽůɬ#ưəɞɡɿˈù ʅɢɿȥɚɡɿɚɧƁǔəʁʀQǔɬɥɍɧƆɑɺʀˉ kʜʢʦƣ Ðˈʴʑʨʡʺ ʧø ņɬɽʀǡ-ʄ Ljɤɡˉġ A ɨɋɰɭʍʯʙʊʐʦɋʄäɤèɤɡēɬ ƁǔɚɡQǔ éùɏˆɮǡ-3ʄ 100 ɩɚɧˈ2 źɬ qƈɚɡġ ɮǠ-3ʄĄă3ɨ ƚəɞʀˉɘɘɨ ɮQǔ éùɏˆɩɯˈarƶɒɋɰɭʍʯʙʊʐʦɋʄä ɤÈɤɡēɬƁǔɚɡˈɊɰɭʍʯʙʊʐʦɋɒ7ɮÌɬ èʂɏɩɜʀêßqɩɚɧ ƲɚɡˉɘɮǠ-3ɒ ɓ ɍɵɪ ɓɫqʄɓǔɚɡɘɩɬɫʀˉɷɡmēɬʈ ʟ ʬʺ ǫħʄLjɏˉʈ ʟʬʺ ɨɯˈɋġ A ɨòɾʁ ʀãǔɯɪɮɽɏɫɻɮɑɋˈɋġ A ɩŀǿɚɧ 2 ź ɬqƈɚɡġ ɨɯòɾʁʀãǔɬȏɍɯɍɤɡɑɋɩ ɍɤɡǵ{ʄLjɍˈƽůɬ ƚəɞɡˉ ɷɡˈ;ǡLjɮǠ-ɒƣ ɚɡÐˈ ȳǡLj;'ɨ ãɛɡ_dzɫɪɬɥɍɧ=ž rʄłɺɡˉ ȷ 5 ɬ ȳɮéʃɓɮōʁʄƈɜˉ $m =" Fig.4 Overview of experimental environment 3.4 ȳarƶɬɯˈɷɝ ȳɮįǐɼeòɜʀʥ ʟ ɬɥɍɧɮǧĎʄɚˈHMD bɲʱʢʧʮʌ ɮnjſã ɼʭ ʦɮǫĄɬɥɍɧƆǤʄLjɤɡˉɷɡˈġ A ɬ ɐɍɧjéʄvɑɚɧɋéʍʯʙʊʐʦɋʄƽůɬióɨ ɓʀɑˈɋɰɭʍʯʙʊʐʦɋʄùɸ#ưəɞʀɘɩɒɨɓ ʀɑɮɔǥʄLjɤɡˉ ȳɮȭ½ɬɥɍɧˈŀǿɮɡɺɬġ A ʄLjɤɧ ɑɾġ B~D ɑɾʽ ʠʶɨȐʅɢġ ʄqƈɚɡˉɘ ɮ 2 ɥɮġ ɮqƈɩĿǾʄ 1 ʜʢʦɩɚˈġ A ɩġ B~D ɮƤɸlʃɞɨ; 3 ʜʢʦɮǡLjʄLjɤɡ,ˌ Ɩ 1 ʜʢʦ AɇCˈƖ 2 ʜʢʦ AɇDˈƖ 3 ʜʢʦ AɇBˆˉ ȷ Ğ ȳɨɯˈkġ ɮǡLj ăʄ ɮɸɩɚɡˉɟ $m -Ps ;H Fig.5 Outline of experiment procedure 3.5 O9~R% ɯɛɺɬˈk ȳarƶɑɾòɾʁɡʥ ʟ ġ A~DˆɬɥɍɧˈIJŕ4 ʄ 1ˈġ A ɮ3ʄ 1 ɩɜʀ B~D ɬɐɍɧÒɾʁɡǠ-3ɮº ʄ 6 ɬƈɜˉ ʋʽ ʪ ɯijŕǧ ʄNjɜˉġ A~D ɮǠ-3ɬ ɥɍ ɧDĂDĤ ʄLjɤɡƦ ĥˈěâ ɒ Ǒɾ ʁɡȷ ȷ F 3,39ˆ=15.814ˈp<.001ˆˉRyan ņɬɽʀ ȔĿǾʄ LjɤɡƦĥˈġ A-DˈA-BˈA-CˈB-DˈC-D ɨěâ ɒɍɿ p<.05ˆˈb-c ɨɯěâ ɒɫɍɘɩɒdɑɤɡˉ 274

5 Fig.6 Evaluation value of perceived force sense A A B B B A B A C CG B D 1 2 B D C A D B C A C E E C (4) x = 0.2 [m] 0.05 m ACE 1 A 1 CE 7 F2,12=21.215, p<.001 Ryan A-CA-E C-E p<

6 Vol.23, No.4, 2018 Fig.7 Evaluation value of perceived force sense in the additional experiment VRAR Eternal Sharpener[18] Ants in the Pants[19] [20] NOISY JELLY[21] MIDI CMG [22] MacBook Air Early 2015 OS Leap Motion Slide Pot 276

7 U ' Vf [\ S\ B / ɩɍɏʸ ʟʮʊ ʠɬɽɤɧ#Ưɜʀˉ<'Ÿɬɯˈ ɊɰɭɋɮɐɻɿȒDɩʮʊ ʠʄ ſɜʀɘɩɨɋɰɭɋ ;'ʄVɑɚɧɍʀ 9ˆˉ \ M Fig.8 System Configuration } ɮʚʭ ʎɑɾCQəʁʀˉʚʭ ʎ ɬɯˈ Ĩ Ɖɮʴʿʡʷʥʇʆʚʭ ʎ xyz-22-a ʄ+ŭɚ ɡˉɷɡˈȧ Į} ɮɊɰɭɋɮ9ɮɐɻɿȒDɯǵ ƫ LED ɒ ɺȀɷʁˈɰɭɮ#ɲɬÙɛɧĎʀəɒ ɜɽɎɬɫɤɧɍʀ 10ˆˉ ʸ ʟʮʊ ʠbɲǵ ƫ LED ɮV*ɯˈ=Ȓɬd ɺɾʁɡʴʈʔ Arduino ɬɽɤɧIÓɚɧɍʀˉUnity ɨi*ɚɡʔ ʭʺ ʟ ɮʘʚʤʶɩɮȉýɬɯĚĆ ɮʽʈʯʽʾ Uniduino ʄHŭɚɡˉɷɡˈʸ ʟɮIÓʄ LjɎɡɺɬ Ardumoto ɩɍɏʸ ʟʧʽʈʪʄ+ŭɚɧɍ ʀˉ njȓɬȟɚɧɯˈ ¾ưƪģ MDFˆʄR ɚ ɧI*ɚɡˉ çɚɡȧ Į}ɮ ǖʄ 11 ɬƈɜˉ ~o p r e.k k":!] Fig.9 Adhesion of fader and weight portion of spring Fig.11 Appearance of electronic musical instrument <, ʸ ʟʮʊ ʠɯh îíɩɚɧɮķƻɻɍʀɮɨˈ îí3ʄǩɸeʀɘɩɨ 'ɮ%Ʊʄìûɜʀɘɩɒɨ ɓʀˉğƃɛɨɯˈɘɮîí3ɑɾǩɸeɤɡʮʊ ʠ ɮ%ƱɩɊɰɭʍʯʙʊʐʦɋɮ%ƱʄĿǾɚˈ ɮǹȥɒɌʀ lɋɰɭʍʯʙʊʐʦɋɮ%ʊɬȁɦɖ ʀɽɏɬʮʊ ʠʄVɑɜɘɩɨˈV*ʄȃÑəɞɧɍʀˉ 3 o p r e Fig.10 Weight portion of spring during operation ȳɬɧʱʢʧʮʌ ɑɾqƈəʁɡȫɯˈȧ Į 4.3 k": ^ $m ĞƔɨúĪɚɡȧ Į}ɯˈMƔɨɮ ȳʀĥɑɾ ÒɾʁɡƁǑʄɊɝɤɩǘɤɧɍɡɕɫʀȧ Į}ɋɩɍ Ɏʔ ʜʰʦɨʋ ʟʤʈ ʷ ʦDȕɳɩÙŭɚɡɻɮɨ Ɍʀˉɟɘɨˈʻ ʗɒI*ɚɡȧ Į} ɮɰɭˆʄ ȣɬɋ#ưəɞɧɍɡɕɫʀɋɑɪɏɑʄǡ-ɚˈƴ ɚ ɡˉɷɡˈI*ɚɡȧ Į}ɯʔ ʭʺ ʟűȪ ɬNj ƈəʁʀɋéʍʯʙʊʐʦɋɬɽɤɧÿ*əʁʀɡɺˈʻ ʗɒ+ŭɜʀȣɬȧ Į}ɬʼnźɚɧŗ ɨɓʀɑɬ ɥɍɧɻlʃɞɧǫħɚɡˉ ȳɯ ɮéȭɨ Ċəʁɡˉɯɛɺɬˈ ȳa RƵɯȧ Į}ɮÿ*ĉņɼˈʔ ʭʺ ʟűȪ ɮ Ɋɰɭʍʯʙʊʐʦɋɩȧ Į} ɮɊɰɭɋɒȉVɚɧ ɍʀɘɩɬɥɍɧɮǧďʄfɖɡˉķɬˈ ȳarƶɯ ȧ Į}ʄˊDȝ+ŭɚˈɊɰɭɬɥɍɡɐɻɿʄ#Ư əɞɧɍɡɕɫʀãǔɋɬȟɚɧǡ ¾ņɬɽʀ ǖ Ǡ-ɒŁɺɾʁˈɊ;ɕãɛɫɑɤɡɋɑɾɊɩɧɻãɛɡɋ ɷɨɮ 5 ľȡ Njˊˆɨ ƚɚɡˉəɾɬˈɋ+ŭ ˈ ɬ ɪɘʄǑɧɍɡɑɋˈɊɟɮ ˈ+ŭɚɧɸɧɮãáɋʄ ʆ ʒ ʦŭơɬƽůǝȂɚɡˉ ȳɮȣˈȧ Į} ɯʔ ʭʺ ʟɮéMɬȓƱɚɡˉ ȳarƶɯ 5 n ;yűßˈº»ȶ 22.0 ĻˆɨɌɤɡˉ 277

8 Vol.23, No.4, DC 5 VRAR VRAR 278

9 U ' Vf [\ S\ B / Ùŭɒƴɏɾʁʀˉ ȳɨɯǔǔjśʄ&őɞɝʒǔ JŚʄqƈɚɫɍ lˈɵɩʅɪŵ$qǔʄòɾʁɫ ɍɘɩɒƈzəʁɡɒˈ#ưßʄòɥȍ<ɒƅćəʁʀ UĥʄqƈɜʀȣɬĚUɩɫʀhƻßɻɌʀˉɘɮɽɎ ɬˈŴ$Qǔʄʔ ʤ ʣɬlʃɞɧʔ ʦˁ ʿɜʀ ɫɪˈɽɿƽů¾ɮȴɍŵ$qǔqƈéņɮŷ ɒě Ïəʁʀˉ ac ĞƃƐɮ Ȓɯ JSPS ƌƃDzǂéƃɛ 18K18095 ɮSçʄfɖɡˉ R0D [1] ȴśǍi, Ț, řůƌ : ñèŧ Ƒȝɬɐɖʀ ǘãǔqƈɬɽʀ áʏʹʽʐʟɩɮʈ ʟʽʐʘʼ ʘʚ ʤʶ; ʘ ʳʙʉʶǬąȤ, Vol.3, p (2011). [2] ȵŎðØ, "ƊĴ, ǰ³ĖŊ, Àśȇ : ñèŧ ã ɬɽʀœƼãɮÿ*ɬȞɜʀ ƇŸĬǛ; ȧ à ȇ 0 ëljƃɛ r, MVE , 111(235), p (2011). [3] A. Lecuyer, J. M. Burkhardt, L. Etienne: Feeling Bumps and Holes without a Haptic Interface, the Perception of Pseudo-Haptic Textures; Proceedings of CHI2004, Vienna, Austria, p (2004). [4] A. Lecuyer, S. Coquillart, A. Kheddar, P. Richard, and P. Coiffet: Pseudo-haptic feedback: Can isometric input devices simulate force feedback?; Proc. Virtual Reality Conference, IEEE, p (2000). [5] ȕ]ďˈĝġ«ˈȕ²ũ : șǘǔʄŭɍɡìòv *ɬɽʀƅǻãƁǔēɬɐɖʀǓǔJŚɮÎȬ; 14 ǚœƽvió ʘʚʤʶʈ ʤʑˀ ʘʼ Ȓțǭŗ SI2013ˆˈp ˆˉ [6] Ź³ōØ, Ȳȕƀ, ȗżdz, ŃlȠi: ʘ ʚʿ HMD ʄŭɍɡÕǘãșǔɮqƈɩǠ-; ċğʪ ʡ ʹʿʾʆʾʤʇ Ǭąǣ, Vol.18(2), p (2013). [7] ƕ=?, ĵğő: LjĉoɮÄɤÈɿQșǔɮÉǫ ɬɥɍɧ; ʈ ʟʽʐʘʼ 2017 ʈ ʟʽʐʤʇʯŶNjˆ (2017). [8] A. Pusch, and A. Lecuyer: Pseudo-haptics: from the theoretical foundations to practical system design guidelines. In Proceedings of the 13th international conference on multimodal interfaces, ACM, pp (2011). [9] āƹķ}ƭȥ y Ƭ: ŬĭāƹĶ}ʘʚʤʶ.Ǖ; ċƌëȉcšɖ (1972). [10] ǃ,, ªȕw, ģ1ē, X±8 Ĕ: Njàɩŝâtȫ ɮʐˁʚʸ ʠʿàVǤƁ: ʸʠ ʾʤʇà ɮɾɩ0ȯßɮUĥɮĬǛ; ċğǥɓƌ, Vol.18(3), p (2011). [11] Ů Ƌw, ªŅŻ, ȝǎ, [ř, ƏǑč Í: v~ĭcʥʪʈʚʄŭɍɡȱãñèʘʚʤʶɮú Ī; ċğʪ ʡʹʿʾʆʾʤʇ ǬąȤ, Vol.16, p (2011). [12] Steve Guest, Caroline Catmur, Donna Lloyd, Charles Spence: Audiotactile interactions in roughness perception; \ M Experimental Brain Research 146, pp (2002). [13] DiFranco, D. E., Beauregard, G. L., Srinivasan, M. A.: Effect of auditory cues on the haptic perception of stiffness in virtual environments.; Proceedings of the ASME Dynamic Systems and Control Division (DSCD 97) (1997). [14] Bresciani, J.-P. et al.: Feeling what you hear: auditory signals can modulate tactile tap perception.; Experimental Brain Research 162, pp (2005). [15] Leap Motion: [16] Unity [17] Max [18] Y. Kojima, Y. Hashimoto, H. Kajimoto: Eternal sharpener - A rotational haptic display that records and replays the sensation of sharpening a pencil; Proceedings of IEEE ROMAN 09, p.8-21 (2009). [19] K. Sato, Y. Sato, M. Sato, S. Fukushima, Y. Okano, K. Matsuo, S. Ooshima, Y. Kojima, R. Matsue, S. Nakata, Y. Hashimoto, and H. Kajimoto: Ants in the Pants; Proceedings of ACM SIGGRAPH 08, Emerging Technologies, No.3 (2008). [20] Ĩ  Ɖʪ ʠʈ: Ɉ ɹɗʅˆʰʡʰʡ: [21] NOISY JELLY: [22] CMG: THE CELL MUSIC GEAR: ( [DžƵƢ ] U n ȩ yˆ 2016 O\kgIKFPfNKzteNKi; AIK FPfNKhliteNKMY4Huj 4, 'n? + Ĺ yˆ 2016 O\kgIKIK FPfNKhlit enkmy=hr^uj<1>txk 2017 O `.NqIKqsKz ) &!$ Ki8Z ee p w2u F W UVG$ { hl S- =H NK Vfn G) ȩ yˆ 1980 `.rsi*}ahli*3]my, e E,\IfNteNKi*ZX 3]L 1979 % *"&) * +(3]v 2002 ' v y :QB 9dD 5 nj NHK Ib &# cm }a 279 3] VG6fK/