Fakultät Medien (M) (ab 22.04.2021)
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Die vorliegende Arbeit beschäftigt sich mit der Nutzung von Reinforcement Learning in der Informationsbeschaffungs-Phase eines Penetration Tests. Es werden Kernprobleme in den bisherigen Ansätzen anderer das Thema betreffender wissenschaftlicher Arbeiten analysiert und praktische Lösungsansätze für diese bisherigen Hindernisse vorgestellt und implementiert. Die Arbeit zeigt damit eine beispielhafte Implementierung eines Reinforcement Learning Agenten zur Automatisierung der Informationsbeschaffungs-Phase eines Penetration Tests und stellt Lösungen für existierende Probleme in diesem Bereich dar.
Eingebettet wird diese wissenschaftliche Arbeit in die Anforderungen der Herrenknecht AG hinsichtlich der Absicherung des Tunnelbohrmaschinen-Netzwerks. Dabei werden praktische Ergebnisse des eigen entwickelten Reinforcement Learning Modells im Tunnelbohrmaschinen-Test-Netzwerk der Herrenknecht AG vorgestellt.
Socially assistive robots (SARs) are becoming more prevalent in everyday life, emphasizing the need to make them socially acceptable and aligned with users' expectations. Robots' appearance impacts users' behaviors and attitudes towards them. Therefore, product designers choose visual qualities to give the robot a character and to imply its functionality and personality. In this work, we sought to investigate the effect of cultural differences on Israeli and German designers' perceptions of SARs' roles and appearance in four different contexts: a service robot for an assisted living/retirement residence facility, a medical assistant robot for a hospital environment, a COVID-19 officer robot, and a personal assistant robot for domestic use. The key insight is that although Israeli and German designers share similar perceptions of visual qualities for most of the robotics roles, we found differences in the perception of the COVID-19 officer robot's role and, by that, its most suitable visual design. This work indicates that context and culture play a role in users' perceptions and expectations; therefore, they should be taken into account when designing new SARs for diverse contexts.
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.
Durch das Verbundprojekt Gendering MINT digital – Open Science aktiv gestalten wurde ermöglicht, die immer noch marginale Inklusion von Genderwissen in MINT für ein erfolgreiches Gender Mainstreaming zu verbessern. Außerdem konnte das Projekt zur Vernetzung von Genderforschung, Lehre in den Gender Studies und Gleichstellungsarbeit beitragen sowie Transferwissen zur Kompetenzbildung in den MINT-Disziplinen erproben, evaluieren und für einen nachhaltigen Einsatz adaptieren.
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.
There is an ongoing debate about the use and scope of Clayton M. Christensen´s idea of disruptive innovation, including the question of whether it is a management buzz phrase or a valuable theory. This discussion considers the general question of how innovation in the field of management theories and concepts finds its way to the different target groups. This conceptual paper combines the different concepts of the creation and dissemination of management trends in a basic framework based on a short review of models for the dissemination of management ideas. This framework allows an analysis of the character of new management ideas like disruptive innovation. By measuring the impact of the theory on the academic sphere using a bibliometric statistic of the number of academic publications on Google scholar and Scopus and a meta-analysis of research papers, we show the significant influence of disruptive innovation beyond pure management fads.
Socially assistive robots (SARs) are becoming more prevalent in everyday life, emphasizing the need to make them socially acceptable and aligned with users' expectations. Robots' appearance impacts users' behaviors and attitudes towards them. Therefore, product designers choose visual qualities to give the robot a character and to imply its functionality and personality. In this work, we sought to investigate the effect of cultural differences on Israeli and German designers' perceptions and preferences regarding the suitable visual qualities of SARs in four different contexts: a service robot for an assisted living/retirement residence facility, a medical assistant robot for a hospital environment, a COVID-19 officer robot, and a personal assistant robot for domestic use. Our results indicate that Israeli and German designers share similar perceptions of visual qualities and most of the robotics roles. However, we found differences in the perception of the COVID-19 officer robot's role and, by that, its most suitable visual design. This work indicates that context and culture play a role in users' perceptions and expectations; therefore, they should be taken into account when designing new SARs for diverse contexts.