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In 2015, Google engineer Alexander Mordvintsev presented DeepDream as technique to visualise the feature analysis capabilities of deep neural networks that have been trained on image classification tasks. For a brief moment, this technique enjoyed some popularity among scientists, artists, and the general public because of its capability to create seemingly hallucinatory synthetic images. But soon after, research moved on to generative models capable of producing more diverse and more realistic synthetic images. At the same time, the means of interaction with these models have shifted away from a direct manipulation of algorithmic properties towards a predominance of high level controls that obscure the model's internal working. In this paper, we present research that returns to DeepDream to assess its suit-ability as method for sound synthesis. We consider this research to be necessary for two reasons: it tackles a perceived lack of research on musical applications of DeepDream, and it addresses DeepDream's potential to combine data driven and algorithmic approaches. Our research includes a study of how the model architecture, choice of audio data-sets, and method of audio processing influence the acoustic characteristics of the synthesised sounds. We also look into the potential application of DeepDream in a live-performance setting. For this reason, the study limits itself to models consisting of small neural networks that process time-domain representations of audio. These models are resource-friendly enough to operate in real time. We hope that the results obtained so far highlight the attractiveness of Deep-Dream for musical approaches that combine algorithmic investigation with curiosity driven and open ended exploration.
This paper describes the authors' first experiments in creating an artificial dancer whose movements are generated through a combination of algorithmic and interactive techniques with machine learning. This approach is inspired by the time honoured practice of puppeteering. In puppeteering, an articulated but inanimate object seemingly comes to live through the combined effects of a human controlling select limbs of a puppet while the rest of the puppet's body moves according to gravity and mechanics. In the approach described here, the puppet is a machine-learning-based artificial character that has been trained on motion capture recordings of a human dancer. A single limb of this character is controlled either manually or algorithmically while the machine-learning system takes over the role of physics in controlling the remainder of the character's body. But rather than imitating physics, the machine-learning system generates body movements that are reminiscent of the particular style and technique of the dancer who was originally recorded for acquiring training data. More specifically, the machine-learning system operates by searching for body movements that are not only similar to the training material but that it also considers compatible with the externally controlled limb. As a result, the character playing the role of a puppet is no longer passively responding to the puppeteer but makes movement decisions on its own. This form of puppeteering establishes a form of dialogue between puppeteer and puppet in which both improvise together, and in which the puppet exhibits some of the creative idiosyncrasies of the original human dancer.
Strings P
(2021)
Strings is an audiovisual performance for an acoustic violin and two generative instruments, one for creating synthetic sounds and one for creating synthetic imagery. The three instruments are related to each other conceptually , technically, and aesthetically by sharing the same physical principle, that of a vibrating string. This submission continues the work the authors have previously published at xCoAx 2020. The current submission briefly summarizes the previous publication and then describes the changes that have been made to Strings. The P in the title emphasizes, that most of these changes have been informed by experiences collected during rehearsals (in German Proben). These changes have helped Strings to progress from a predominantly technical framework to a work that is ready for performance.
Strings
(2020)
This article presents the currently ongoing development of an audiovisual performance work with the title Strings. This work provides an improvisation setting for a violinist, two laptop performers, and two generative systems. At the core of Strings lies an approach that establishes a strong correlation among all participants by means of a shared physical principle. The physical principle is that of a vibrating string. The article discusses how this principle is used in both natural and simulated forms as main interaction layer between all performers and as natural or generative principle for creating audio and video.
3D Bin Picking with an innovative powder filled gripper and a torque controlled collaborative robot
(2023)
A new and innovative powder filled gripper concept will be introduced to a process to pick parts out of a box without the use of a camera system which guides the robot to the part. The gripper is a combination of an inflatable skin, and a powder inside. In the unjammed condition, the powder is soft and can adjust to the geometry of the part which will be handled. By applying a vacuum to the inflatable skin, the powder gets jammed and transforms to a solid shaped form in which the gripper was brought before applying the vacuum. This physical principle is used to pick parts. The flexible skin of the gripper adjusts to all kinds of shapes, and therefore, can be used to realize 3D bin picking. With the help of a force controlled robot, the gripper can be pushed with a consistent force on flexible positions depending of the filling level of the box. A Kuka LBR iiwa with joint torque sensors in all of its seven axis’ was used to achieve a constant contact pressure. This is the basic criteria to achieve a robust picking process.
Sensors and actuators enable creation of context-aware applications in which applications can discover and take advantage of contextual information, such as user location, nearby people and objects. In this work, we use a general context definition, which can be applied to various devices, e.g., robots and mobile devices. Developing context-based software applications is considered as one of the most challenging application domains due to the sensors and actuators as part of a device. We introduce a new development approach for context-based applications by using use-case descriptions and Visual Programming Languages (VPL). The introduction of web-based VPLs, such as Scratch and Snap, has reinvigorated the usefulness of VPLs. We provide an in-depth discussion of our new VPL based method, a step by step development process to enable development of context-based applications. Two case studies illustrate how to apply our approach to different problem domains: Context-based mobile apps and context-based humanoid robot applications.