Fakultät Medien (M) (ab 22.04.2021)
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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.
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.
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 identification of vulnerabilities is an important element in the software development life cycle to ensure the security of software. While vulnerability identification based on the source code is a well studied field, the identification of vulnerabilities on basis of a binary executable without the corresponding source code is more challenging. Recent research [1] has shown how such detection can generally be enabled by deep learning methods, but appears to be very limited regarding the overall amount of detected vulnerabilities. We analyse to what extent we could cover the identification of a larger variety of vulnerabilities. Therefore, a supervised deep learning approach using recurrent neural networks for the application of vulnerability detection based on binary executables is used. The underlying basis is a dataset with 50,651 samples of vulnerable code in the form of a standardised LLVM Intermediate Representation. Te vectorised features of a Word2Vec model are used to train different variations of three basic architectures of recurrent neural networks (GRU, LSTM, SRNN). A binary classification was established for detecting the presence of an arbitrary vulnerability, and a multi-class model was trained for the identification of the exact vulnerability, which achieved an out-of-sample accuracy of 88% and 77%, respectively. Differences in the detection of different vulnerabilities were also observed, with non-vulnerable samples being detected with a particularly high precision of over 98%. Thus, our proposed technical approach and methodology enables an accurate detection of 23 (compared to 4 [1]) vulnerabilities.
Public educational institutions are increasingly confronted with a decline in the number of applicants, which is why competition between colleges and universities is also intensifying. For this reason, it is important to position oneself as an institution in order to be perceived by the various target groups and to differentiate oneself from the competition. In this context, the brand and thus its perception and impact play a decisive role, especially in view of the desired communication of the institution's own values and its self-image, the brand identity. To this end, emotions serve as an approach to creating positive stimulation and brand loyalty.
Inner Congo
(2023)
This research-creation project, part of the DE\GLOBALIZE artistic research cycle presented at the #IFM2022 Conference, investigates the complexities of Congo violence, care, and colonialism. Drawing on Michel Serres' metaphor of the great estuaries, the study explores the topology of interactive documentaries, blending theory, emotion, and personal experiences. Accessible through the interactive web documentation at http://deglobalize.com, the platform offers a media-archaeological archive for speculative ethnography, enabling the forensic processing of single documents in line with actor-network theory.
Currently, immersive technologies are enjoying great popularity. This trend is reflected in technological advances and the emergence of new products for the mass market, such as augmented reality glasses. The range of applications for immersive technologies is growing with more efficient and affordable technologies and student adoption. Especially in education, the use will improve existing learning methods. Immersive application use visual, audio and haptic sensors to fully engage the user in a virtual environment. This impression is reinforced with the help of realistic visualizations and the opportunity for interaction. In particular, Augmented reality is characterized by a high degree of integration between reality and the inserted virtual objects. An augmented interactive simulation for the determination of the specific charge of an electron will be used as an example to demonstrate how such immersion can be created for users. A virtual Helmholtz coil is used to measure and calculate the e/m constant. The voltage at the cathode for generating the electron beam, but also the voltage of the homogeneous magnetic field for deflecting the electron beam, can be variably controlled by haptic user input. Based on these voltages, an immersive virtual electron beam is calculated and visualized. In this paper, the authors present the conceptual steps of this immersive application and address the challenges associated with designing and developing an augmented and interactive simulation.