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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.
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.
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.
This paper presents a streaming-based E-Learning environment where closer integration between learning and work is achieved by integrating multimedia services into manufacturing processes. It contains a comprehensive and detailed explanation of the proposed E-Learning streaming framework, especially the adaption of streaming services to mobile environments. We first analyze several scenarios where E-Learning streaming services can be integrated into manufacturing processes. To allow systematic and tailor-made integration, we develop a model and a specification language for E-Learning streaming services and apply the model using practical scenarios from real manufacturing processes. Adaption of multimedia streaming services to mobile devices is discussed based on Synchronized Multimedia Integration Language (SMIL). Last, we comment on the benefits of using E-Learning streaming services as part of manufacturing processes and analyze the acceptance of the developed system. The key components of our E-Learning environment are 1) an xml based streaming service specification language, 2) adaption of multimedia E-Learning services to mobile environments, and 3) Web Services for searching, registration, and creation of E-Learning streaming services.
The invention concerns a method for spectrum monitoring a given frequency band, in which the spectral power density (S(f)) within the given frequency band is determined for all noise and signal components in the frequency band and, in order to detect the presence of one or more signals within the given frequency band, it is evaluated whether the spectral power density (S(f)) exceeds a threshold value (&lgr;). According to the invention, the threshold value (&lgr;) is calculated in accordance with an estimation of a distribution density (hR(S)) for the noise component of the spectral power density (S(f)) within the given frequency band and in accordance with a predefined value for the false-alarm probability (Pfa).
The invention relates to a container (1) for a liquid medium (3), in particular a blood bag, comprising a flexible outer wall (5) and a device (13) connected to the container (1) for acquiring and/or storing data. According to the invention, the device (13) for acquiring and/or storing data is arranged within the flexible outer wall (5), wherein positioning means (15) are provided which hold the device (13) for acquiring and/or storing data in a floating manner in the liquid medium when the container (1) is filled with said liquid medium (3), and wherein the device (13) or the device (13) and the positioning means (15) are designed such that the mass of liquid medium (3) which is displaced in each case is essentially equal to the mass of the device (13) or to the mass of the device (13) and the positioning means (15).
A wet-chemical treatment system for electrochemically coating flat substrates with coating material, has having a basin for receiving an electrolyte, a transporting means, by means of which the flat substrates can be transported through the electrolyte horizontally, and at least one contact element which comprises a shaft having an axis of rotation and a cylindrical circumferential surface suitable for rolling on the substrate, wherein the circumferential surface comprises at least one electrically insulated segment and at least one electrically conductive segment which can be connected to a current source in such a way that the polarity can be reversed, wherein the axis of rotation of the contact element is positioned above the surface of the electrolyte, and wherein the contact element is designed as a consumable electrode.
본 발명은 기판들을 금속화하기 위한 디바이스에 관한 것이다. 특별히, 본 발명은 습식-화학물질 연속 (인-라인) 처리 시스템 환경에서 솔라 셀들을 전기도금하기 위해 사용되는 컨택 엘리먼트(contact element)들의 분야에 관한 것이다. 코팅 재료로 평평한 기판들(1)들을 전기화학적으로 코팅하기 위한 본 발명에 따른 습식-화학물질 처리 시스템은 전해질 용액, 이송 수단들 - 이송 수단들을 이용하여 평평한 기판(1)이 전해질 용액을 통과하여 수평으로 이송될 수 있는 - 을 수용하는 용기(basin), 및 회전축(5)을 갖는 샤프트(4) 및 기판(1) 위에서 구르기에 적합한 원통형의 원주 표면을 포함하는 적어도 하나의 컨택 엘리먼트(2)를 가지며, 원주 표면은 극성이 역전될 수 있는 방식으로 전류 소스 (6)에 연결될 수 있는 적어도 하나의 전기적으로 전도성인 세그먼트 (3A) 및 적어도 하나의 전기적으로 절연된 세그먼트 (3B)를 포함하고, 컨택 엘리먼트 (2)의 회전축 (5)은 전해질 용액의 표면 위에 위치되고, 컨택 엘리먼트 (2)는 소모 전극(consumable electrode)으로 디자인된다.