Drag-and-Pop and Drag-and-Pick: Techniques for Accessing Remote Screen Content on Touch- and Pen-Operated Systems
By Patrick Baudisch, Edward Cutrell, Dan Robbins, Mary Czerwinski, Peter Tandler, B. Bederson, Alex Zierlinger. IFIP TC13 International Conference on Human-Computer Interaction, 2003
359 citations recorded by the source corpus.
View Paper: https://www.semanticscholar.org/paper/08bb6547142489a24185e57a2ef6be7f562f5b08
How researchers see this paper
The researchers whose trusted networks rank it highest, strongest advocate first. Every researcher gets a different order.
- Patrick Baudisch
- Hrvoje Benko
- Andrew D. Wilson
- Tovi Grossman
- Meredith Ringel Morris
- Daniel Vogel
- Ravin Balakrishnan
- Terry Winograd
Citations in the corpus
- Semantic pointing: improving target acquisition with control-display ratio adaptation (2004, methodology): “The distance can also be reduced by moving the potential targets of a directed movement towards the cursor, as in the dragand-pop technique [1].”
- Haptic Retargeting: Dynamic Repurposing of Passive Haptics for Enhanced Virtual Reality Experiences (2016, methodology): “Adopting a heuristic similar to drag-and-pop [3], we compare the hand’s velocity with the direct path to candidate targets and thus predict the next virtual target.”
- Cooperative gestures: multi-user gestural interactions for co-located groupware (2006, background): “Previous work, such as the “shuffle” and “throw” gestures on the DynaWall [8], or “drag-and-pop” [2], explore single-user techniques for moving documents and icons across large displays; this paper introduces interaction techniques involving cooperation between members of a co-located group.”
- The bubble cursor: enhancing target acquisition by dynamic resizing of the cursor's activation area (2005, methodology): “It may also be interesting to combine some of the prediction algorithms found in [3, 8] into the bubble cursor.”
- Shift: a technique for operating pen-based interfaces using touch (2007, background): “Despite its simplicity, this seemed sufficient for communicating the origin of the callout, allowing us to drop visually heavier styles, such as a cartoon bubble callout (b and c) or a rubber band (a) à la drag-and-pop [3].”