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The sharp rise in electricity and oil prices due to the war in Ukraine has caused fluctuations in the results of the previous study about the economic analysis of electric buses. This paper shows how the increase in fuel prices affects the implementation of electric buses. This publication is constructing the Total Cost of Ownership (TCO) model in the small-mid-size city, Offenburg for the transition to electric buses. The future development of costs is estimated and a projection based on learning curves will be carried out. This study intends to introduce a new future prospect by presenting the latest data based on previous research. Through the new TCO result, the cost differences between the existing diesel bus and the electric bus are updated, and also the future prospects for the economic feasibility of the electric bus in a small and midsize city are presented.
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.
Patients with focal ventricular tachycardia are at risk of hemodynamic failure and if no treatment is provided the mortality rate can exceed 30%. Therefore, medical professionals must be adequately trained in the management of these conditions. To achieve the best treatment, the origin of the abnormality should be known, as well as the course of the disease. This study provides an opportunity to visualize various focal ventricular tachycardias using the Offenburg cardiac rhythm model.
The contribution of the RoofKIT student team to the SDE 21/22 competition is the extension of an existing café in Wuppertal, Germany, to create new functions and living space for the building with simultaneous energetic upgrading. A demonstration unit is built representing a small cut-out of this extension. The developed energy concept was thoroughly simulated by the student team in seminars using Modelica. The system uses mainly solar energy via PVT collectors as the heat source for a brine-water heat pump (space heating and hot water). Energy storage (thermal and electrical) is installed to decouple generation and consumption. Simulation results confirm that carbon neutrality is achieved for the building operation, consuming and generating around 60 kWh/m2a.
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.
Organized by the Fraunhofer Additive Manufacturing Alliance, the bi-annual Direct Digital Manufacturing Conference brings together researchers, educators and practitioners from around the world. The conference covers the entire range of topics in additive manufacturing, starting with methodologies, design and simulation, right up to more application-specific topics, e.g. from the realm of medical engineering and electronics.
Mobile learning (m-learning) can be considered as a new paradigm of e-learning. The developed solution enables the presentation of animations and 3D virtual reality (VR) on mobile devices and is well suited for mobile learning. Difficult relations in physics as well as intricate experiments in optics can be visualised on mobile devices without need for a personal computer. By outsourcing the computational power to a server, the coverage is worldwide.