Tactile Internet with Human-in-the-Loop describes the change from the current Internet, which focuses on the democratization of information independent of location or time, to the Tactile Internet, which democratizes skills to promote equity that is independent of age, gender, sociocultural background or physical limitations. The book promotes the concept of the Tactile Internet for remote closed-loop human-machine interaction and describes the main challenges and key technologies. Current standardization activities in the field for IEEE and IETF are also described, making this book an ideal resource for researchers, graduate students, and industry R&D engineers in communications engineering, electronic engineering, and computer engineering. - Provides a comprehensive reference that addresses all aspects of the Tactile Internet – technologies, engineering challenges, use cases and standards - Written by leading researchers in the field - Presents current standardizations surrounding the IETF and the IEEE - Contains use cases that illustrate practical applications

Young children who are visually impaired and have additional disabilities need to learn to use their sense of touch effectively to promote their growth, development, and ability to communicate. This manual provides teachers, early interventionists, and parents with critical information about alternative communication methods not based on the use of vision as well as countless practical strategies. Topics include assessing a child's skills, planning interventions, and selecting appropriate tactile strategies to meet the child's needs.

In this volume of poetry, Mark Scott writes of human feelings and human touch in poems about the deaths of two brothers and in poems of love and friendship.

Today, the most progressive designers are working at the intersection of various creative disciplines. They are challenging existing design principles and defining them anew. Many designers from different areas are choosing to no longer work exclusively in two dimensions and are instead dealing intensively with space, material and physical products. The book Hidden Track investigated this development in 2005 and portrayed it in its breadth for the first time. Now, Tactile shows how graphic design is moving into three-dimensional objects and products and presents graphic design that works with space or the perception of space. The book focuses less on murals than on products, objects, installations and collage that demonstrate how designers are developing and implementing their ideas spatially from the very outset of a given project. Tactile proves that spatial innovation in graphic design is not limited to personal work or artistic endeavours for exhibition, but is being sought out more and more often by commercial clients, for example in store design. With its insight into this experimental field of graphic design, Tactile targets young, progressive designers as well as professionals from the fields of advertising, architecture and interior design. Because its topical content is compiled in a way that highlights the interesting multi-disciplinary interactions between the various works, Tactile also offers inspiration for creatives in fashion, lifestyle and art.

The Tactile Eye expands on phenomenological analysis and film theory in its accessible and beautifully written exploration of the visceral connection between films and their viewers. Jennifer M. Barker argues that the experience of cinema can be understood as deeply tactile—a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the skin, and reverberates in the body. Barker combines analysis of embodiment and phenomenological film theory to provide an expansive description of cinematic tactility. She considers feminist experimental film, early cinema, animation, and horror, as well as classic, modernist, and postmodern cinema; films from ten national cinemas; and work by Chuck Jones, Buster Keaton, the Quay Brothers, Satyajit Ray, Carolee Schneemann, and Tom Tykwer, among others.

Jan Aevankmajer wrote this remarkable book on tactile art when he stopped directing films after censorship by the Czechoslovakian government and experimented intensively with tactile phenomena and the creative imagination. Illustrated with over 100 images, the book is organised around many reproductions of Aevankmajer's wondrous tactile art objects, tactile poems, experiments and games. It also includes dialogues with, and artworks by, other collaborating artists from the Group of Czech and Slovak Surrealists. Aevankmajer also gathers together as contributors such notable exponents of tactual experience as Edgar Allen Poe, Guillaume Apollinaire, Salvador Dali, Marcel Duchamp, Meret Oppenheim, Ay-O, and F.T. Marinetti. Michael Havas, producer of some of Aevankmajer's films, says of the book: 'it is typically Aevankmajer: erudite and very consequential. Sometimes also very funny and erotic. Totally unique.'

Getting close won't be easy... Bullets are afraid to touch a mysterious, young woman who's desperately looking for an artifact she lost. It's a shame she's not the only with special gifts searching for it...

Put down the pencil and let your finger do the solving. The ten tactile mazes inside these puzzling pages challenge your sense of touch. Trace your fingertip along the raised dots that make up each labyrinth, and then give yourself a hand when you reach the circle that marks the finish line. A finger maze book that guarantees hours of fun As far as creative birthday gifts go, this book is downright a-maze-ing! 8.25 x 9.875 inches; 12 pages of embossed mazes including cover Created by Junko Murayama

Humans rely on their sense of touch to perceive subtle movements and micro slippages to manipulate an impressive range of objects. This incredible dexterity relies on fast and unconscious adjustments of the grip force that holds an object strong enough to avoid a catastrophic fall yet gentle enough not to damage it. The Biomechanics of the Tactile Perception of Friction covers how the complex mechanical interaction is perceived by the nervous system to quickly infer the state of the contact for a swift and precise regulation of the grip. The first part focuses on how humans assess friction at the contact initialization and the second part highlights an efficient coding strategy that the nervous system might use to continuously adjust the grip force to keep a constant safety margin before slippage. Taken together, these results reveal how the perception of frictional information is encoded in the deformation of our skin. The findings are useful for designing bio-inspired tactile sensors for robotics or prosthetics and for improving haptic human-machine interactions.