Simplify acronyms

1-introduction/related-work/1-haptic-hand.tex

@@ -94,7 +94,7 @@ As illustrated in the \figref{sensorimotor_continuum}, \Citeauthor{jones2006huma
 ]
 
 This classification has been further refined by \textcite{bullock2013handcentric} into 15 categories of possible hand interactions with an object.
-In this thesis, we are interested in exploring \vh augmentations (\partref{perception}) and grasping of \VOs (\partref{manipulation}) in the context of \AR and \WHs.
+In this thesis, we are interested in exploring visuo-haptic augmentations (\partref{perception}) and grasping of \VOs (\partref{manipulation}) in the context of \AR and wearable haptics.
 
 \subsubsection{Hand Anatomy and Motion}
 \label{hand_anatomy}

1-introduction/related-work/3-augmented-reality.tex

@@ -28,7 +28,7 @@ Fixed to the ceiling, the headset displayed a stereoscopic (one image per eye) p
 The first formal definition of \AR was proposed by \textcite{azuma1997survey}: (1) combine real and virtual, (2) be interactive in real time, and (3) register real and virtual\footnotemark.
 Each of these characteristics is essential: the real-virtual combination distinguishes \AR from \VR, a movie with integrated digital content is not interactive and a \TwoD overlay like an image filter is not registered.
 There are also two key aspects to this definition: it does not focus on technology or method, but on the user's perspective of the system experience, and it does not specify a particular human sense, \ie it can be auditory \cite{yang2022audio}, haptic \cite{bhatia2024augmenting}, or even olfactory \cite{brooks2021stereosmell} or gustatory \cite{brooks2023taste}.
-Yet, most of the research have focused on visual augmentations, and the term \AR (without a prefix) is almost always understood as \v-\AR.
+Yet, most of the research have focused on visual augmentations, and the term \AR (without a prefix) is almost always understood as visual \AR.
 
 \footnotetext{This third characteristic has been slightly adapted to use the version of \textcite{marchand2016pose}, the original definition was: \enquote{registered in \ThreeD}.}
 %For example, \textcite{milgram1994taxonomy} proposed a taxonomy of \MR experiences based on the degree of mixing real and virtual environments, and \textcite{skarbez2021revisiting} revisited this taxonomy to include the user's perception of the experience.
@@ -107,21 +107,21 @@ Still, these concepts are useful to design, evaluate and discuss our contributio
 \label{ar_presence}
 
 \AR and \VR are both essentially illusions as the virtual content does not physically exist but is just digitally simulated and rendered to the user's senses through display \UIs.
-Such experience of disbelief suspension in \VR is what is called \emph{presence}, and it can be decomposed into two dimensions: \PI and \PSI \cite{slater2009place}.
-\PI is the sense of the user of \enquote{being there} in the \VE (\figref{presence-vr}).
+Such experience of disbelief suspension in \VR is what is called \emph{presence}, and it can be decomposed into two dimensions: place illusion and plausibility \cite{slater2009place}.
+Place illusion is the sense of the user of \enquote{being there} in the \VE (\figref{presence-vr}).
 It emerges from the real time rendering of the \VE from the user's perspective: to be able to move around inside the \VE and look from different point of views.
-\PSI is the illusion that the virtual events are really happening, even if the user knows that they are not real.
+plausibility is the illusion that the virtual events are really happening, even if the user knows that they are not real.
 It doesn't mean that the virtual events are realistic, but that they are plausible and coherent with the user's expectations.
 
 %The \AR presence is far less defined and studied than for \VR \cite{tran2024survey}
-For \AR, \textcite{slater2022separate} proposed to invert \PI to what we can call \enquote{object illusion}, \ie the sense of the \VO to \enquote{feels here} in the \RE (\figref{presence-ar}).
+For \AR, \textcite{slater2022separate} proposed to invert place illusion to what we can call \enquote{object illusion}, \ie the sense of the \VO to \enquote{feels here} in the \RE (\figref{presence-ar}).
 As with VR, \VOs must be able to be seen from different angles by moving the head but also, this is more difficult, be consistent with the \RE, \eg occlude or be occluded by real objects \cite{macedo2023occlusion}, cast shadows or reflect lights.
-The \PSI can be applied to \AR as is, but the \VOs must additionally have knowledge of the \RE and react accordingly to it.
-\textcite{skarbez2021revisiting} also named \PI for \AR as \enquote{immersion} and \PSI as \enquote{coherence}, and these terms will be used in the remainder of this thesis.
+The plausibility can be applied to \AR as is, but the \VOs must additionally have knowledge of the \RE and react accordingly to it.
+\textcite{skarbez2021revisiting} also named place illusion for \AR as \enquote{immersion} and plausibility as \enquote{coherence}, and these terms will be used in the remainder of this thesis.
 One main issue with presence is how to measure it both in \VR \cite{slater2022separate} and \AR \cite{tran2024survey}.
 
 \begin{subfigs}{presence}{The sense of immersion in virtual and augmented environments. Adapted from \textcite{stevens2002putting}. }[
-        \item Place Illusion (PI) is the sense of the user of \enquote{being there} in the \VE.
+        \item Place illusion is the sense of the user of \enquote{being there} in the \VE.
         \item Objet illusion is the sense of the \VO to \enquote{feels here} in the \RE.
     ]
     \subfigsheight{35mm}
@@ -132,7 +132,7 @@ One main issue with presence is how to measure it both in \VR \cite{slater2022se
 \paragraph{Embodiment}
 \label{ar_embodiment}
 
-The \SoE is the \enquote{subjective experience of using and having a body} \cite{blanke2009fullbody}, \ie the feeling that a body is our own.
+The sense of embodiment is the \enquote{subjective experience of using and having a body} \cite{blanke2009fullbody}, \ie the feeling that a body is our own.
 In everyday life, we are used to being, seeing and controlling our own body, but it is possible to embody a virtual body as an avatar while in \AR \cite{genay2022being} or \VR \cite{guy2023sense}.
 This illusion arises when the visual, proprioceptive and (if any) haptic sensations of the virtual body are coherent \cite{kilteni2012sense}.
 It can be decomposed into three subcomponents: \emph{Agency}, which is the feeling of controlling the body; \emph{Ownership}, which is the feeling that \enquote{the body is the source of the experienced sensations}; and \emph{Self-Location}, which is the feeling \enquote{spatial experience of being inside [the] body} \cite{kilteni2012sense}.
@@ -309,7 +309,7 @@ Rendering the real hand as a semi-transparent hand in \VST-\AR is perceived as l
 Similarly, \textcite{blaga2017usability} evaluated direct hand manipulation in non-immersive \VST-\AR with a skeleton-like rendering \vs no visual hand rendering: while user performance did not improve, participants felt more confident with the virtual hand (\figref{blaga2017usability}).
 %\textcite{krichenbauer2018augmented} found that participants were \percent{22} faster in immersive \VST-\AR than in \VR in the same pick-and-place manipulation task, but no visual hand rendering was used in \VR while the real hand was visible in \AR.
 In a collaborative task in immersive \OST-\AR \vs \VR, \textcite{yoon2020evaluating} showed that a realistic human hand rendering was the most preferred over a low-polygon hand and a skeleton-like hand for the remote partner.
-\textcite{genay2021virtual} found that the \SoE with robotic hands overlay in \OST-\AR was stronger when the environment contained both real and virtual objects (\figref{genay2021virtual}).
+\textcite{genay2021virtual} found that the sense of embodiment with robotic hands overlay in \OST-\AR was stronger when the environment contained both real and virtual objects (\figref{genay2021virtual}).
 Finally, \textcite{maisto2017evaluation} and \textcite{meli2018combining} compared the visual and haptic rendering of the hand in \VST-\AR, as detailed in the next section (\secref{vhar_rings}).
 Taken together, these results suggest that a visual rendering of the hand in \AR could improve usability and performance in direct hand manipulation tasks, but the best rendering has yet to be determined.
 %\cite{chan2010touching} : cues for touching (selection) \VOs.

1-introduction/related-work/4-visuo-haptic-ar.tex

@@ -11,10 +11,10 @@ It is essential to understand how a multimodal visuo-haptic rendering of a \VO i
 % spatial and temporal integration of visuo-haptic feedback as perceptual cues vs proprioception and real touch sensations
 % delocalized : not at the point of contact = difficult to integrate with other perceptual cues ?
 
-%Go back to the main objective "to understand how immersive visual and \WH feedback compare and complement each other in the context of direct hand perception and manipulation with augmented objects" and the two research challenges: "providing plausible and coherent visuo-haptic augmentations, and enabling effective manipulation of the augmented environment."
+%Go back to the main objective "to understand how immersive visual and wearable haptic feedback compare and complement each other in the context of direct hand perception and manipulation with augmented objects" and the two research challenges: "providing plausible and coherent visuo-haptic augmentations, and enabling effective manipulation of the augmented environment."
 %Also go back to the \figref[introduction]{visuo-haptic-rv-continuum3} : we present previous work that either did haptic AR (the middle row), or haptic VR with visual AR, or visuo-haptic AR.
 
-% One of the roles of haptic systems is to render virtual interactions and sensations that are \emph{similar and comparable} to those experienced by the haptic sense with real objects, particularly in \v-\VE \cite{maclean2008it,culbertson2018haptics}. Moreover, a haptic \AR system should \enquote{modulating the feel of a real object by virtual [haptic] feedback} \cite{jeon2009haptic}, \ie a touch interaction with a real object whose perception is modified by the addition of virtual haptic feedback.
+% One of the roles of haptic systems is to render virtual interactions and sensations that are \emph{similar and comparable} to those experienced by the haptic sense with real objects, particularly in visual \VE \cite{maclean2008it,culbertson2018haptics}. Moreover, a haptic \AR system should \enquote{modulating the feel of a real object by virtual [haptic] feedback} \cite{jeon2009haptic}, \ie a touch interaction with a real object whose perception is modified by the addition of virtual haptic feedback.
 
 % Finally, we present how multimodal visual and haptic feedback have been combined in \AR to modify the user perception of tangible objects, and to improve the user interaction with \VOs.
 

1-introduction/related-work/related-work.tex

@@ -3,12 +3,12 @@
 
 \chaptertoc
 
-This chapter reviews previous work on the perception and manipulation of \AEs directly with the hand using wearable haptics, \AR, and their combination.
+This chapter reviews previous work on the perception and manipulation with virtual and augmented objects, directly with the hand, using either wearable haptics, \AR, or their combination.
 %Experiencing a visual, haptic, or visuo-haptic \AE relies on one to many interaction loops between a user and the environment, as shown in \figref[introduction]{interaction-loop}, and each main step must be addressed and understood: the tracking and modelling of the \RE into a \VE, the interaction techniques to act on the \VE, the rendering of the \VE to the user through visual and haptic user interfaces, and, finally, the user's perception and actions on the overall \AE.
-To achieve this, we first describe how the hand senses and acts on its environment to perceive and manipulate the haptic properties of real everyday objects.
+We first overview how the hand senses and acts on its environment to perceive and manipulate the haptic properties of real everyday objects.
 Second, we present how wearable haptic devices and renderings have been used to augment the haptic perception of roughness and hardness of real objects.
 Third, we introduce the principles and user experience of \AR, and overview the main interaction techniques used to manipulate virtual objects directly with the hand.
-Finally, multimodal visual and haptic feedback have been combined in \AR to enhance perception and interaction with the hand.
+Finally, we describe multimodal visual and haptic feedback have been combined in \AR to enhance perception and interaction with the hand.
 
 \input{1-haptic-hand}
 \input{2-wearable-haptics}