Haptic (pronounced HAP-tiks) is the science of applying touch (tactile) sensation and control to

interaction with computer applications. The word derives from the Greek hapteinmeaning "to
fasten." Haptics offers an additional dimension to a virtual reality or 3-D environment and is
essential to the immersiveness of those environments.
By using special input/output devices (joysticks, data gloves or other devices), users can
receive feedback from computer applications in the form of felt sensations in the hand or other
parts of the body. In combination with a visual display, haptics technology can be used to train
people for tasks requiring hand-eye coordination, such as surgery and space ship maneuvers. It
can also be used for games in which you feel as well as see your interactions with images.
Reverse electrovibration, also known as virtual touch, is one area of haptics used with VR and
augmented reality (AR) technology. Virtual touch facilitates electronic transmission of human
tactile stimuli, allowing end users to perceive the textures and contours of remote objects.
Besides conveying the feel of everyday objects, the technology can also be used to enhance
accessibility, for example through the transmission of Braille characters.
Semiotics (also called semiotic studies) is the study of meaning-making, the study of sign
process (semiosis) and meaningful communication. It is not to be confused with
the Saussurean tradition called semiology, which is a subset of semiotics.[1][2] Semiotics includes
the study of signs and sign processes, indication, designation,
likeness, analogy, allegory, metonymy, metaphor, symbolism, signification, and communication.
The semiotic tradition explores the study of signs and symbols as a significant part of
communications. Different from linguistics, semiotics also studies non-linguistic sign systems.
Semiotics is frequently seen as having important anthropological and sociological dimensions;
for example, the Italian semiotician and novelist Umberto Eco proposed that every cultural
phenomenon may be studied as communication.[3] Some semioticians focus on
the logical dimensions of the science, however. They examine areas belonging also to the life
sciences—such as how organisms make predictions about, and adapt to, their semiotic niche in
the world (see semiosis). In general, semiotic theories take signs or sign systems as their object
of study: the communication of information in living organisms is covered
in biosemiotics (including zoosemiotics)
Chronemics is the study of the role of time in communication. It is one of several subcategories
of the study of nonverbal communication. Other prominent subcategories
include haptics (touch), kinesics (body movement), vocalics (paralanguage), and proxemics (the
use of space
Thomas J. Bruneau of Radford University coined the term "chronemics" in the late 1970s to help
define the function of time in human interaction:
Chronemics can be briefly and generally defined as the study of human tempo as it related to
human communication. More specifically, chronemics involves the study of both subjective and
objective human tempos as they influence and are interdependent with human behavior.
Further, chronemics involves the study of human communication as it relates to interdependent
and integrated levels of time-experiencing. Previously, these interdependent and integrated
levels have been outlined and discussed as: biological time; psychological time; social time; and
cultural time. A number of classification systems exist in the literature of time. However, such
systems are not applied to human interaction directly
 In Charlotte Perkins Gilman's “The Yellow Wallpaper” we are introduced to a woman who enjoys
writing. Gilman does not give the reader the name of the women who narrates the story through
her stream of consciousness. She shares that she has a nervous depression condition. John, the
narrator’s husband feels it is “a slight hysterical tendency” (266). She has been treated for some
nervous habits that she feels are legitimately causing harm to her way of life. However she feels
her husband, a physician, and her doctor believe that she is embellishing her condition. The
woman shares with the reader early in the story that she is defensive of how others around her
perceive her emotional state.

This hints at a perverse viewpoint the narrator has of the relationship. This can be likened to
Gilman’s impression of how society, when she wrote this story, oppressed women’s equality.
Perhaps Gilman implies that society’s oppression of women’s equality is perverse itself. Her loving
husband, John, never takes her illness seriously. The reader has a front row seat of the narrator’s
insanity voluminously growing. He has shown great patience with the recovery of his wife’s
condition. However, the narrator is clear to the reader that she cannot be her true self with him. In
the narrator’s eyes she feels he is completely oblivious to how she feels and could never
understand her. If she did tell him that the yellow wallpaper vexed her as it does he would insist
that she leave? She could not have this. She has found purpose in this paper. Indeed she cannot be
understood by anyone except the woman in the yellow wallpaper. Her creeping about is symbolic
of her hiding, sometimes in broad daylight, from a world that looks at her as an outcast because she
doesn’t want to be a typical domestic ornament. Perhaps the yellow wallpaper acted as a mirror for
our narrator. As she peered into the wall’s secrets night after night her vanity gradually became
insanity. She knew she could not free herself in the world she lived in

Maria Cyril Dalina