Art-Design Track

The call for projects was a great success and we received a very large number of applications. We had to make a difficult choice, and select the 5 proposals to which we offer the possibility of presenting one of their works, combining haptics and design, for our greatest pleasure.

Revolving landscapes: Haptic sculptures, Mille au carré, laboratoire de création artistique numérique, Saint Erblon France


The “Revolving landscapes: Haptic sculptures” project is designed according to a long-term logic. We plan to present it at Eurohaptics but also for the next few years in different forms, to different audiences, and we will improve it, thanks to feedback from uninformed people as well as professionals. Each new project is an adventure and considered as a creation that must have a good dynamic. This step into the scientic world will surely bring new ideas, new possibilities
of exploring haptic, technics, artistic views and many other aspects of the project.
The partnerships between the Mille au carré collective and IRISA is interesting, because Mille au carré comes from the artist and maker community. The collective uses technologies that have been democratized to the general public, so with a low budget and little knowledge it is now possible to have a new way of thinking, independent, disconnected to the industry and economic models. This is a fertile field to rethink technologies, even simple ones like a turning
wheel, and search how it can be reinvented. Exchanging is the base of our team’s network composed of makers, artists, scientists, and it’s precious to mix pragmatic creativity and other ways based on imaginations, emotions and
feelings. This is how new discovered technologies can be reinjected in an innovative way. The Eurohaptics conference can be a huge resource for the future. The haptic aspect of the wheel will surely evolve after having a lot of feedback there. With new ideas centered around haptics we can present news features for the project and unblock new funds and/or occasions to present it. This is how the wheel, as a tool and as an artistic object, can be improved and leads to a more powerful artistic picture.

Quetzalcoatl, Claude Cadoz, Grenoble France


For me, Claude Cadoz, as a composer, musical creation is no longer possible without haptics.
Instrumental musical situation, in which a person plays on an object and feels it is ontologically constitutive of Music over ages.
Then in the context of synthesized sounds, Haptics is nothing less than a very very very necessary experience in Computer Music to recover the sense of touch in contemporary new musical experiences.
On the scientific side, haptics in Arts is probably the best way to understand what sensitive gesture feeling does mean and what embodiment does mean.On the societal side, Haptics in Arts is the best way to communicate, exchange and work with non-expert people (children, citizens …) in a very direct way, as it happens in enactive situations through actions.
Then, what are the challenges for haptics and what could be issues for haptics in the future?

First, to have at disposal under hands haptic device of sufficient quality and sufficient morphological versatility to support musical gestures such as piano playing or violin bowing.

Second, to have the possibility to extend the instrumental traditional experience to non-existing, but believable and playable, multisensory instruments.

Third, to develop technics to put at disposal to several people these new possibilities. It is not easy because such technologies are technically complex and quite expansive. We will be very happy to discuss such fundamental questions with the EH 24 participants: (1) quality and versatility of haptics devices for artistic gestures, (2) why and how extend the musical experience with haptics to new musical opportunities offered by computer sounds, (3) how to put at disposal to the society such very fantastic opportunities to allow each of us to create with feeling.
Even if we cannot come to Lille with the haptic devices, the Quetzalcoatl video played in concert, and the models, will hopefully allow to open fruitfully discussions on such exciting questions.

Quantum Jungle, Robin Baumgarten, Wobby Labs, Berlin, Germany


My professional career as an artist working with springs has been a journey of independent research coming from digital video games. My understanding of haptics and experimental hardware comes from self-taught experimentation rather than professional guidance, and that is why connecting to ‘actual’ professionals at EuroHaptics would be quite beneficial for me. I’m eager to learn more about the theoretical foundations and also practical advances that could help further my career.
At the same time, I hope I can show off my own work and journey and perhaps stimulate some ideas in the other participants with my art. Quantum Jungle uses a wall of metal springs as an input medium, which I haven’t seen done before. It introduces a richer and more playful haptic feedback for interactions with a display surface.

ON/CONTACT, Marie-Eve Morissette, Montreal, Canada

Crédits photos : Flore Boubila @flore_bbl

‘Bellies’, Laura A Dima, Amsterdam, Netherlands


This interactive art installation addresses the prevalent challenges of touch deprivation, loneliness, and social isolation in our increasingly digital society. Through this project, I delve into novel modes of communication and intimacy facilitated by haptic technology – moving away from the touch screens of our well-known devices. As society becomes more reliant on technology for social interaction, it inevitably shapes our psychology. My research offers fresh perspectives, particularly from a feminist lens, aiming to decentralise technology, balance power dynamics, and empower individuals. It’s an exploration of intimacy with technology—a response to the rapid digitisation of our lives that we cannot escape.

I firmly believe that this project holds significant value for the haptics community. Unlike typical engineering conferences where technologies are often showcased in isolation, my project integrates technology into complex systems and interactions. It serves as an inspiration for scientists looking to create machines that replicate the human touch and for researchers examining
tactile feedback’s role in fostering human connection.

‘Bellies’ pushes the boundaries of technology by exploring simulated touch between bodies and machines, aiming to facilitate intimate encounters that transcend physical limitations. In traditional exhibition settings, participants seldom have the opportunity to experience each other’s bodies in such an intimate manner and become attuned to each other’s presence. Through hap-
tics and my sculptures, however, this intimacy can be achieved in a safe, friendly and warm way. This interaction prompts us to consider the profound impact of amplifying and feeling each other’s bio-rhythms within our own bodies – the other as an extension of ourselves. It prompts questions about the nature of resonance between individuals and how we adapt and synchronise to these shared experiences.