A Hangul Sebeolsik(3-Layer) 23-Keys Phoneme/Syllable Chorded Keys Computer Keyboard for Easy Fingering: Ahnmatae Keyboard Improvement

Author(s):  
Jae-won Song
Keyword(s):  
Author(s):  
Howraa Nash ◽  
Gourav Kumar Nayak ◽  
Jashwant Thota ◽  
Mohammed Alsowaidi ◽  
Hashem Alsowaidi ◽  
...  

A user’s posture at a computer workstation, especially wrist posture, is determined by the keyboard angle. Most commercially available computer keyboards have a built-in positive slope that requires the user to extend their wrist approximately 20° when typing. The purpose of this study is to find the negative keyboard angles that minimize wrist extension for both sitting and standing workstations. In this study, we compared upper limb working postures, including those of the wrist, elbow and shoulder, at 5 different keyboard angles between −16° and +6° in sitting and standing postures. Based on our results, we can conclude that the optimal range of keyboard slope is from −4° to −12° in sitting posture and −8° to −12° in the standing posture in terms of minimum wrist extension, typing performance, and user preference. We also propose a universal keyboard support design as an attachment to currently available keyboards.


2014 ◽  
Vol 1014 ◽  
pp. 67-70
Author(s):  
Jia Jun Ding

The operation panel of numerical control machine tools is an interactive interface between numerical control machine tools and opertators. In order to operation specification and easy to operating , based on ergonomics, by intergating the traditional operation panel of numerical control machine tools with computer keyboard , we design a novel operation panel of numerical control machine tools based on the traditional numerical control machine tools. By operating on the novel operation panel, the results the operation of the novel panel is easy and specified.


1989 ◽  
Vol 33 (6) ◽  
pp. 450-454 ◽  
Author(s):  
Leland W. Knight ◽  
Dale Retter

This paper presents the design and preliminary evaluation of a new computer key and spatial entry system called Datahand. It is intended to improve human-to-computer data entry and control, as well as providing possible reduction of five major identifiable problems with conventional keyboards which subject operator to injury. The overall physical form of this product, its keys, and their organization, are unique in shape and function. Such a departure from traditional keyboards has presented an opportunity to consider new approaches to hand position, key design, spatial control and function. Preliminary empirical results from first users are covered in this paper.


Author(s):  
Sérgio Roberto de Lima e Silva Filho ◽  
Mauro Roisenberg

This chapter proposes an authentication methodology that is both inexpensive and non-intrusive and authenticates users continuously while using a computer keyboard. This proposed methodology uses neural network committee machines. The committee consists of several independent neural networks trained to recognize a behavioral biometric characteristic: user’s typing pattern. Continuous authentication prevents potential attacks when users leave their desks without logging out or locking their computer session. Some experiments were conducted to evaluate and to calibrate the authentication committee. Best results show that a 0% FAR and a 0.15% FRR can be achieved when different thresholds are used in the system for each user. In this proposed methodology, capture system does not need to concern about typing errors in the text. Another feature of this methodology is that new users can be easily added to the system, with no need to re-train all neural networks involved.


Author(s):  
V. J Manzo

In this chapter, we will look at some of the ways that you can play back and record sound files. As you know, Max lets you design the way you control the variables in your patch. We will apply these design concepts to the ways we control the playback of recorded sound. We will also look at some ways to track the pitch of analog audio and convert it into MIDI numbers. By the end of this chapter, you will have written a program that allows you to play back sound files using a computer keyboard as a control interface as well as a program that tracks the pitch you’re singing from a microphone and automatically harmonizes in real time. We will create a simple patch that plays back some prerecorded files I have prepared. Please locate the8 “.aif ” audio files located in the Chapter 13 Examples folder. 1. Copy these 8 audio files to a new folder somewhere on your computer 2. In Max, create a new patch 3. Click File>Save As and save the patch as playing_sounds.maxpat in the same folder where you put these 8 audio files. There should be 9 files total in the folder (8 audio and 1 Max patch) 4. Close the patch playing_sounds.maxpat 5. Re-open playing_sounds.maxpat (the audio files will now be in the search path of the Max patch) We can play back the prerecorded audio files we just copied using an object called sfplay~. The sfplay~ object takes an argument to specify how many channels of audio you would like the object to handle. For instance, if you are loading a stereo (two channel) file, you can specify the argument 2. Loading a sound file is easy: simply send the sfplay~ object the message open. Playing back the sound is just as easy: send it a 1 or a 0 from a toggle. Let’s build a patch that plays back these files.


Author(s):  
V. J Manzo

In this chapter, we will look at some innovative ways to control music making as we develop musical instruments. We will look at using your computer keyboard and mouse as performance instruments as well as discuss the use of videogame controllers in your patches. Designing your own custom musical instruments is a great way to tailor the controls to the specific physical abilities of users while allowing them to focus on certain specific musical concepts like pitches, scales, and harmony/chords. 1. Click on Extras>EAMIR from the top menu to view the main menu of the EAMIR SDK 2. In the umenu labeled Examples, click the third item 3.EAMIR _ASCII_Keyboard_Control.maxpat Unlock the patch that opens and look at its basic structure. As you can see, the patch is really just 4 bpatcher objects, 3 of which refer to patches we’ve already looked at. The newest bpatcher, at the top of the patch, is basically just a patch with a key object, a select object, and some fancy graphics—all things you learned to use in Chapter 3. Lock the patch and 3. Type your full name using your computer keyboard. Note that uppercase letters and lowercase letters trigger different buttons 4. Press the number keys 1–8 as these are mapped to message boxes containing numbers used as diatonic chord functions Without the top bpatcher, your patch generates chords in any key simply by clicking the message boxes. The top bpatcher is just a control interface that maps something (keys) to something else (message boxes). 5. Ctrl+click (Mac) or right click (Windows) the top bpatcher and select Object>Open Original “EAMIR_keyboard.maxpat” from the contextual menu This patch is set to open in Presentation mode. Unlock the patch and put it in Patching view. The contents of the patch are as I described: a key object, as well as a keyup object, are connected to two gigantic sel (select) objects containing the ASCII numbers for all the available characters on the computer keyboard nothing you couldn’t already do. In fact, the most impressive part of this patch, in my opinion, is the graphical part of it.


2013 ◽  
Vol 41 (4) ◽  
pp. 337-339 ◽  
Author(s):  
Natalie N. D'Antonio ◽  
John D. Rihs ◽  
Janet E. Stout ◽  
Victor L. Yu

Sign in / Sign up

Export Citation Format

Share Document