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In a randomized controlled cross-over study ten male runners (26.7 ± 4.9 years; recent 5-km time: 18:37 ± 1:07 min:s) performed an incremental treadmill test (ITT) and a 3-km time trial (3-km TT) on a treadmill while wearing either carbon fiber insoles with downwards curvature or insoles made of butyl rubber (control condition) in light road racing shoes (Saucony Fastwitch 9). Oxygen uptake, respiratory exchange ratio, heart rate, blood lactate concentration, stride frequency, stride length and time to exhaustion were assessed during ITT. After ITT, all runners rated their perceived exertion, perceived shoe comfort and perceived shoe performance. Running time, heart rate, blood lactate levels, stride frequency and stride length were recorded during, and shoe comfort and shoe performance after, the 3-km TT. All parameters obtained during or after the ITT did not differ between the two conditions [range: p = 0.188 to 0.948 (alpha value: 0.05); Cohen's d = 0.021 to 0.479] despite the rating of shoe comfort showing better scores for the control insoles (p = 0.001; d = −1.646). All parameters during and after the 3-km TT showed no differences (p = 0.200 to 1.000; d = 0.000 to 0.501) between both conditions except for shoe comfort showing better scores for control insoles (p = 0.017; d = −0.919). Running with carbon fiber insoles with downwards curvature did not change running performance or any submaximal or maximal physiological or biomechanical parameter and perceived exertion compared to control condition. Shoe comfort is impaired while running with carbon fiber insoles. Wearing carbon fiber insoles with downwards curvature during treadmill running is not beneficial when compared to running with control insoles.
This paper provides a comprehensive overview of approaches to the determination of isocontours and isosurfaces from given data sets. Different algorithms are reported in the literature for this purpose, which originate from various application areas, such as computer graphics or medical imaging procedures. In all these applications, the challenge is to extract surfaces with a specific isovalue from a given characteristic, so called isosurfaces. These different application areas have given rise to solution approaches that all solve the problem of isocontouring in their own way. Based on the literature, the following four dominant methods can be identified: the marching cubes algorithms, the tessellation-based algorithms, the surface nets algorithms and the ray tracing algorithms. With regard to their application, it can be seen that the methods are mainly used in the fields of medical imaging, computer graphics and the visualization of simulation results. In our work, we provide a broad and compact overview of the common methods that are currently used in terms of isocontouring with respect to certain criteria and their individual limitations. In this context, we discuss the individual methods and identify possible future research directions in the field of isocontouring.
Background: Assistive Robotic Arms are designed to assist physically disabled people with daily activities. Existing joysticks and head controls are not applicable for severely disabled people such as people with Locked-in Syndrome. Therefore, eye tracking control is part of ongoing research. The related literature spans many disciplines, creating a heterogeneous field that makes it difficult to gain an overview.
Objectives: This work focuses on ARAs that are controlled by gaze and eye movements. By answering the research questions, this paper provides details on the design of the systems, a comparison of input modalities, methods for measuring the performance of these controls, and an outlook on research areas that gained interest in recent years.
Methods: This review was conducted as outlined in the PRISMA 2020 Statement. After identifying a wide range of approaches in use the authors decided to use the PRISMA-ScR extension for a scoping review to present the results. The identification process was carried out by screening three databases. After the screening process, a snowball search was conducted.
Results: 39 articles and 6 reviews were included in this article. Characteristics related to the system and study design were extracted and presented divided into three groups based on the use of eye tracking.
Conclusion: This paper aims to provide an overview for researchers new to the field by offering insight into eye tracking based robot controllers. We have identified open questions that need to be answered in order to provide people with severe motor function loss with systems that are highly useable and accessible.
Der Online-Handel verzeichnet seit Jahren ein stetiges Wachstum. Durch die COVID-19-Pandemie kaufen nun auch Nutzende, die zuvor physische Kanäle bevorzugten, vermehrt online ein. Der Anbietererfolg hängt dabei wesentlich von der Kenntnis über die Kund*innen ab. Allerdings dominieren einige große Anbieter den Markt, während kleinere Online-Shops Schwierigkeiten haben, ihre Angebote zu personalisieren. Eine Lösung bietet der Ansatz selbstbestimmter Identitäten. Dieser ermöglicht Kund*innen, ihre eigenen Shoppingdaten zu kontrollieren und sie selektiv mit Online-Shops zu teilen. Dadurch können individuelle Wünsche und Anforderungen der Kund*innen in Online-Shops berücksichtigt und ein personalisiertes Angebot sowie eine gute Nutzungserfahrung geboten werden. Trotz des großen Potenzials selbstbestimmter Identitäten ist der Ansatz in Deutschland kaum verbreitet. Dieser Beitrag beleuchtet den Einsatz selbstbestimmter Identitäten im Online-Handel. Mithilfe eines menschenzentrierten Gestaltungsprozesses wurden Personas und Ist-Szenarien erstellt, sowie daraus resultierend Anforderungen erhoben und Potenziale identifiziert. Auf Basis dessen konnte ein Daten- und Architekturmodell zur Integration von selbstbestimmten Identitäten im Online-Handel entwickelt werden.
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.
Batteries typically consist of multiple individual cells connected in series. Here we demonstrate single-cell state of charge (SOC) and state of health (SOH) diagnosis in a 24 V class lithium-ion battery. To this goal, we introduce and apply a novel, highly efficient algorithm based on a voltage-controlled model (VCM). The battery, consisting of eight single cells, is cycled over a duration of five months under a simple cycling protocol between 20 % and 100 % SOC. The cell-to-cell standard deviations obtained with the novel algorithm were 1.25 SOC-% and 1.07 SOH-% at beginning of cycling. A cell-averaged capacity loss of 9.9 % after five months cycling was observed. While the accuracy of single-cell SOC estimation was limited (probably owed to the flat voltage characteristics of the lithium iron phosphate, LFP, chemistry investigated here), single-cell SOH estimation showed a high accuracy (2.09 SOH-% mean absolute error compared to laboratory reference tests). Because the algorithm does not require observers, filters, or neural networks, it is computationally very efficient (three seconds analysis time for the complete data set consisting of eight cells with approx. 780.000 measurement points per cell).
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.