Virtual reality (VR) provides significant opportunities for students to experience immersive education. In VR, students can travel to the international space station, or go through a science experiment at home. However, the current tactile feedback provided by these systems do not feel real. Controllers do not provide the same tactile feedback experienced in the physical world. This dissertation aims to bridge the gap between the virtual and physical learning environments through the development of novel haptic devices capable of emulating tactile sensations found in physical science labs. My research explores haptic devices that can emulate the sensations of fluids in vessels within the virtual environment. Fluid handling is a cornerstone experience of science labs. I also explore how to emulate the handling of other science equipment. I describe and research on four novel devices. These are 1) SWISH: A shifting-weight interface of simulated hydrodynamics for haptic perception of virtual fluid vessels, 2) Geppetteau, 3) Vibr-eau, and 4) Pneutouch. SWISH simulates the sensation of virtual fluids in vessels using a rack and pinion mechanism, while Geppetteau employs a string-driven mechanism to provide haptic feedback for a variety of vessel shapes. Vibr-eau utilizes vibrotactile actuators in the vessel’s interior to emulate the behavior of virtual liquids. Finally, Pneutouch enables users to interact with virtual objects through pneumatic inflatables. Through systematic evaluations and comparisons with baseline comparisons, the usability and effectiveness of these haptic devices in enhancing virtual experiences is demonstrated. The development of these haptic mechanisms and interfaces represents a significant step towards creating transformative educational tools that provide customizable, hands-on learning environments in both Mixed (MR) and Virtual Reality (VR) - now called XR. This dissertation contributes to advancing the field of haptics for virtual education and lays the foundation for future research in immersive learning technologies.

This thesis explores the development and integration of a wrist-worn pneumatic haptic interface, Pneutouch, into multiplayer virtual reality (VR) environments. The study investigates the impact of haptics on multiplayer experiences, with a specific focus on presence, collaboration, and communication. Evaluation and investigation were performed using three mini-games, each targeting specific interactions and investigating presence, collaboration, and communication. It was found that haptics enhanced user presence and object realism, increased user seriousness towards tasks, and shifted the focus of interactions from user-user to user-object. In collaborative tasks, haptics increased realism but did not improve efficiency for simple tasks. In communication tasks, a unique interaction modality, termed "haptic mirroring," was introduced, which explored a new form of communication that could be implemented with haptic devices. It was found that with new communication modalities, users experience an associated learning curve. Together, these findings suggest a new set of multiplayer haptic design considerations, such as how haptics increase seriousness, shift focus from social to physical interactions, generally increase realism but decrease task efficiency, and have associated learning curves. These findings contribute to the growing body of research on haptics in VR, particularly in multiplayer settings, and provide insights that can be further investigated or utilized in the implementation of VR experiences.

Wittgenstein’s claim: anytime something is seen, it is necessarily seen as something, forms the philosophical foundation of this research. I synthesize theories and philosophies from Simondon, Maturana, Varela, Wittgenstein, Pye, Sennett, and Reddy in a research process I identify as a paradigm construction project. My personal studio practice of inventing experiential media systems is a key part of this research and illustrates, with practical examples, my philosophical arguments from a range of points of observation. I see media systems as technical objects, and see technical objects as structurally determined systems, in which the structure of the system determines its organization. I identify making, the process of determining structure, as a form of structural coupling and see structural coupling as a means of knowing material. I introduce my theory of conceptual plurifunctionality as an extension to Simondon’s theory. Aspects of materiality are presented as a means of seeing material and immaterial systems, including cultural systems. I seek to answer the questions: How is structure seen as determining the organization of systems, and making seen as a process in which the resulting structures of technical objects and the maker are co-determined? How might an understanding of structure and organization be applied to the invention of contemporary experiential media systems?