Wanli Qian

Wanli Qian, Chenfeng Gao, Anup Sathya et al.

This paper introduces text-to-shape-display, a novel approach to generating dynamic shape changes in pin-based shape displays through natural language commands. By leveraging large language models (LLMs) and AI-chaining, our approach allows users to author shape-changing behaviors on demand through text prompts without programming. We describe the foundational aspects necessary for such a system, including the identification of key generative elements (primitive, animation, and interaction) and design requirements to enhance user interaction, based on formative exploration and iterative design processes. Based on these insights, we develop SHAPE-IT, an LLM-based authoring tool for a 24 x 24 shape display, which translates the user's textual command into executable code and allows for quick exploration through a web-based control interface. We evaluate the effectiveness of SHAPE-IT in two ways: 1) performance evaluation and 2) user evaluation (N= 10). The study conclusions highlight the ability to facilitate rapid ideation of a wide range of shape-changing behaviors with AI. However, the findings also expose accuracy-related challenges and limitations, prompting further exploration into refining the framework for leveraging AI to better suit the unique requirements of shape-changing systems.

Wanli Qian, Aiden Chang, Shihan Lu et al.

Authoring realistic haptic textures typically requires low-level parameter tuning and repeated trial-and-error, limiting speed, transparency, and creative reach. We present a language-driven authoring system that turns natural-language prompts into multimodal textures: two coordinated haptic channels - sliding vibrations via force/speed-conditioned autoregressive (AR) models and tapping transients - and a text-prompted visual preview from a diffusion model. A shared, language-aligned latent links modalities so a single prompt yields semantically consistent haptic and visual signals; designers can write goals (e.g., "gritty but cushioned surface," "smooth and hard metal surface") and immediately see and feel the result through a 3D haptic device. To verify that the learned latent encodes perceptually meaningful structure, we conduct an anchor-referenced, attribute-wise evaluation for roughness, slipperiness, and hardness. Participant ratings are projected to the interpretable line between two real-material references, revealing consistent trends - asperity effects in roughness, compliance in hardness, and surface-film influence in slipperiness. A human-subject study further indicates coherent cross-modal experience and low effort for prompt-based iteration. The results show that language can serve as a practical control modality for texture authoring: prompts reliably steer material semantics across haptic and visual channels, enabling a prompt-first, designer-oriented workflow that replaces manual parameter tuning with interpretable, text-guided refinement.

Gerry Chen, Sereym Baek, Juan-Diego Florez et al.

We present GTGraffiti, a graffiti painting system from Georgia Tech that tackles challenges in art, hardware, and human-robot collaboration. The problem of painting graffiti in a human style is particularly challenging and requires a system-level approach because the robotics and art must be designed around each other. The robot must be highly dynamic over a large workspace while the artist must work within the robot's limitations. Our approach consists of three stages: artwork capture, robot hardware, and planning & control. We use motion capture to capture collaborator painting motions which are then composed and processed into a time-varying linear feedback controller for a cable-driven parallel robot (CDPR) to execute. In this work, we will describe the capturing process, the design and construction of a purpose-built CDPR, and the software for turning an artist's vision into control commands. Our work represents an important step towards faithfully recreating human graffiti artwork by demonstrating that we can reproduce artist motions up to 2m/s and 20m/s$^2$ within 9.3mm RMSE to paint artworks. Changes to the submitted manuscript are colored in blue.