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Synthesizing voice with the help of machine learning techniques has made rapid progress over the last years. Given the current increase in using conferencing tools for online teaching, we question just how easy (i.e. needed data, hardware, skill set) it would be to create a convincing voice fake. We analyse how much training data a participant (e.g. a student) would actually need to fake another participants voice (e.g. a professor). We provide an analysis of the existing state of the art in creating voice deep fakes and align the identified as well as our own optimization techniques in the context of two different voice data sets. A user study with more than 100 participants shows how difficult it is to identify real and fake voice (on avg. only 37% can recognize a professor’s fake voice). From a longer-term societal perspective such voice deep fakes may lead to a disbelief by default.
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.
Generative machine learning models for creative purposes play an increasingly prominent role in the field of dance and technology. A particularly popular approach is the use of such models for generating synthetic motions. Such motions can either serve as source of ideation for choreographers or control an artificial dancer that acts as improvisation partner for human dancers. Several examples employ autoencoder-based deep-learning architectures that have been trained on motion capture recordings of human dancers. Synthetic motions are then generated by navigating the autoencoder's latent space. This paper proposes an alternative approach of using an autoencoder for creating synthetic motions. This approach controls the generation of synthetic motions on the level of the motion itself rather than its encoding. Two different methods are presented that follow this principle. Both methods are based on the interactive control of a single joint of an artificial dancer while the other joints remain under the control of the autoencoder. The first method combines the control of the orientation of a joint with iterative autoencoding. The second method combines the control of the target position of a joint with forward kinematics and the application of latent difference vectors. As illustrative example of an artistic application, this latter method is used for an artificial dancer that plays a digital instrument. The paper presents the implementation of these two methods and provides some preliminary results.
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.
The transition from college to university can have a variety of psychological effects on students who need to cope with daily obligations by themselves in a new setting, which can result in loneliness and social isolation. Mobile technology, specifically mental health apps (MHapps), have been seen as promising solutions to assist university students who are facing these problems, however, there is little evidence around this topic. My research investigates how a mobile app can be designed to reduce social isolation and loneliness among university students. The Noneliness app is being developed to this end; it aims to create social opportunities through a quest-based gamified system in a secure and collaborative network of local users. Initial evaluations with the target audience provided evidence on how an app should be designed for this purpose. These results are presented and how they helped me to plan the further steps to reach my research goals. The paper is presented at MobileHCI 2020 Doctoral Consortium.
Loneliness, an emotional distress caused by the lack of meaningful social connections, has been increasingly affecting university students who need to deal with everyday situations in a new setting, especially those who have come from abroad. Currently there is little work on digital solutions to reduce loneliness. Therefore, this work describes the general design considerations for mobile apps in this context and outlines a potential solution. The mobile app Noneliness is used to this end: it aims to reduce loneliness by creating social opportunities through a quest-based gamified system in a secure and collaborative network of local users. The results of initial evaluations with the target audience are described. The results informed a user interface redesign as well as a review of the features and the gamification principles adopted.
During the periods of social isolation to contain the advance of COVID-19 in 2020 and 2021, educational institutions have had the challenge to adopt technological strategies not only to ensure continuity in students’ classes, but also to support their mental health in a period of uncertainty and health risks. Loneliness is an emotional distress caused by the lack of meaningful social connections; it has increasingly affected young adults worldwide during the pandemic's social isolation and still bears psychological effects in the current post-pandemic period. In the light of this challenge, the Nonenliness App was developed as a way to bring together university communities to address issues related to loneliness and mental health disorders through a gamified and social online environment. In this paper, we present the app and its main functionalities (Beta version) and discuss the preliminary results of a pilot clinical study conducted with university students in Germany (N = 12) to verify the app's efficacy and usability, alongside the challenges faced and the next steps to be taken regarding the platform's improvement.
We aim to debate and eventually be able to carefully judge how realistic the following statement of a young computer scientist is: “I would like to become an ethical correctly acting offensive cybersecurity expert”. The objective of this article is not to judge what is good and what is wrong behavior nor to present an overall solution to ethical dilemmas. Instead, the goal is to become aware of the various personal moral dilemmas a security expert may face during his work life. For this, a total of 14 cybersecurity students from HS Offenburg were asked to evaluate several case studies according to different ethical frameworks. The results and particularities are discussed, considering different ethical frameworks. We emphasize, that different ethical frameworks can lead to different preferred actions and that the moral understanding of the frameworks may differ even from student to student.
The paper will focus on the activities of the International Year of Light and Optical Technologies 2015 (IYL) with their impact in life, science, art, culture, education and outreach as well as the importance in promoting the objectives for sustainable development. It describes our activities carried out in the run-up to or during the IYL, as well as reports on the generic projects that led to the success of the IYL. The success of the IYL is illustrated by examples and statistics. Relating to the potential and success of the IYL, the impact and the genesis of the International Day of Light (IDL) is presented. Impressions from the opening ceremony of the IYL in Paris at UNESCO headquarters and the Inaugural Ceremony of the IDL will then be covered. A second focus is placed on the interdisciplinary media projects realized by the students of our university dedicated to these events. Finally, an analysis of the impact and legacy of IYL and IDL will be presented.