The title of this technical report says almost everything: this is indeed \"a short bibliography on AI and the arts\". It is presented in four sections: General Arguments, Proposals, and Approaches (31 references); Artificial Intelligence in Music (124 references); Artificial Intelligence in Literature and the Performing Arts (13 references), and Artificial Intelligence and Visual Art (57 references). About a quarter of these have short abstracts. Creating a bibliography can be a monumental task, and this bibliography should be viewed as a good and useful start, though it is by no means complete. For comparison, consider the 4,585-entry bibliography Computer Applications in Music by Deta Davis (A-REditions). No direct comparison is intended (or possible), but my point is that many more papers are likely to exist. As a rough check, I looked for several pre-1990 AI and Music articles and books (including my own, of course) in the bibliography. Out of five papers from well-known sources, only one was listed. On the other hand, I discovered a number of papers in this report that were unknown to me, so I am grateful to have a new source of references. In their introduction, the authors acknowledge the need for more references and even offer.a cup of coffee in reward for each new one. I will be sending a number of contributions, so the next time anyone is in Vienna, the coffee is on me. I hope the authors will continue to collect abstracts and publish an updated report in the future.

Auditory Scene Analysis: The Perceptual Organization of Sound by Albert Bregman (review)

The Brain's Sense of Movement. By Alain Berthoz (Translated by Giselle Weiss). Cambridge, Massachusetts: Harvard University Press; 2000, 352 pp. $22.80. Ever wonder how certain people catch or bat a baseball hurled at blurring speeds? If you have, find yourself in a group whose intended or accidental success maybe a machine that pitches and throws like a ballplayer. Once this group of researchers articulates an accurate set of principles behind movement, deft engineering, persistence, and luck may converge to emulate nature. Although Berthoz's The Brain's Sense ofMovement, does not offer a science-fiction glimpse of agile androids that populate Asimov's novels, it provides an organized and fascinating way of thinking about movement. Berthoz takes the reader on a whirlwind tour of cognitive neuroscience topics: perception, coherence, memory, prediction, and adaptation. By examining these topics and using choice examples, Berthoz builds a persuasive case supporting his thesis that the brain is an anticipation machine. Even before delving into the intricacies of each of these topics, Berthoz's claim seems reasonable in light of evolution. In fact, Berthoz explains how evolution and improved neural systems that guide movement influence and drive each other: \"The species that passed the test of natural selection are those that figured out how to save a few milliseconds in capturing prey and anticipating the actions of predators, those whose brains were able to simulate the elements of the environment and choose the best way home, those able to memorize great quantities of information from past experience and use them in the heat of action.\" This cat and mouse games has honed the brain to take advantage of its parallel architecture, bypassing computing each trajectory in a Newtonian sense, and arriving at a solution by using heuristics developed over evolution. Heuristics play an important role in examples where a target exceeds physical limits of detection. For example, a baseball may move too quickly for the fovea to focus, however, the brain, and skeletal-muscular system use computational shortcuts to simulate, predict, adapt, and control the body in response to a changing environment. The first choice example that Berthoz highlights as a key computational shortcut is the derivative. Signals from receptors enable anticipation of future position of the head owing to their sensitivity to derivatives such as jerk, acceleration, and velocity. Another mathematical concept that Berthoz explores as a predictive tool is tensors. From what I learned, a tensor is a group of mathematical operators called matrices that carry out transformations among vectors. Between derivatives and vectors, Berthoz devotes several chapters to explaining how otoliths and semicircular canals use derivatives for linear and angular accelerations to predict while tensors receive perfunctory treatment. A balance between these two topics may better satisfy some readers. Certainly, derivatives and tensors alone cannot account for movement. Just as a calculator or computer derives its usefulness in a network, mathematical shortcuts for movement need to occur in the context of a circuit. Reading Berthoz's

The Brain's Sense of Movement.

박응격 저, 「行政學講義」(서울 : 박영사, 1993)

While researchers have long investigated end-user programming using a trigger-action (if-then) model, the website IFTTT is among the first instances of this paradigm being used on a large scale. To understand what IFTTT users are creating, we scraped the 224,590 programs shared publicly on IFTTT as of September 2015 and are releasing this dataset to spur future research. We characterize aspects of these programs and the IFTTT ecosystem over time. We find a large number of users are crafting a diverse set of end-user programs---over 100,000 different users have shared programs. These programs represent a very broad array of connections that appear to fill gaps in functionality, yet users often duplicate others' programs.

/pdf/trigger-action-programming-in-the-wild-an-analysis-of-200-4v4wyb4nul.pdf

Trigger-Action Programming in the Wild: An Analysis of 200,000 IFTTT Recipes

Production systems empowered by digital simulation tools can be improved in a time and cost-effective approach. The enrichment of digital simulations with sensor data, can enhance their realism and...

The digital twin implementation for linking the virtual representation of human-based production tasks to their physical counterpart in the factory-floor

Virtual reality (VR) technology strives to enable a highly immersive experience for the user by including a wide variety of modalities (e.g. visuals, haptics). Current VR hardware however lacks a sufficient way of communicating the perception of weight of an object, resulting in scenarios where users can not distinguish between lifting a bowling ball or a feather. We propose a solely software based approach of simulating weight in VR by deliberately using perceivable tracking offsets. These tracking offsets nudge users to lift their arm higher and result in a visual and haptic perception of weight. We conducted two user studies showing that participants intuitively associated them with the sensation of weight and accept them as part of the virtual world. We further show that compared to no weight simulation, our approach led to significantly higher levels of presence, immersion and enjoyment. Finally, we report perceptional thresholds and offset boundaries as design guidelines for practitioners.

Breaking the Tracking: Enabling Weight Perception using Perceivable Tracking Offsets

Home automation faces the challenge of providing ubiquitous, unobtrusive services while empowering users with approachable configuration interfaces. These interfaces need to provide sufficient expressiveness to support complex automation, and notations need to be devised that enable less tech-savvy users to express such scenarios. Rule-based and process-oriented paradigms have emerged as opposing ends of the spectrum; however, their underlying concepts have not been studied comparatively. We report on a contextual inquiry study in which we collected qualitative data from 18 participants in 12 households on the current potential and acceptance of home automation, as well as explored the respective benefits and drawbacks of these two notation paradigms for end users. Results show that rule-based notations are sufficient for simple automation tasks but not flexible enough for more complex use cases. The resulting insights can inform the design of interfaces for smart homes to enable usable real-world home automation for end users.

Exploring End User Programming Needs in Home Automation

The integration of multi-sensory stimuli, e.g. haptic airflow, in virtual reality (VR) has become an important topic of VR research and proved to enhance the feeling of presence. VaiR focuses on an accurate and realistic airflow simulation that goes far beyond wind. While previous works on the topic of airflow in VR are restricted to wind, while focusing on the feeling of presence, there is to the best of our knowledge no work considering the conceptual background or on the various application areas. Our pneumatic prototype emits short and long term flows with a minimum delay and is able to animate wind sources in 3D space around the user's head. To get insights on how airflow can be used in VR and how such a device should be designed, we arranged focus groups and discussed the topic. Based on the gathered knowledge, we developed a prototype which proved to increase presence, as well as enjoyment and realism, while not disturbing the VR experience.

VaiR: Simulating 3D Airflows in Virtual Reality

Redirected walking (RDW) allows virtual reality (VR) users to walk infinitely while staying inside a finite physical space through subtle shifts (gains) of the scene to redirect them back inside the volume. All prior approaches measure the feasibility of RDW techniques based on if the user perceives the manipulation, leading to rather small applicable gains. However, we treat RDW as an interaction technique and therefore use visually perceivable gains instead of using the perception of manipulation. We revisited prior experiments with focus on applied gains and additionally tested higher gains on the basis of applicability in a user study. We found that users accept curvature gains up to 20=m, which reduces the necessary physical volume down to approximately 6x6m for virtually walking infinitely straight ahead. Our findings strife to rethink the usage of redirection from being unperceived to being applicable and natural.

Rethinking Redirected Walking: On the Use of Curvature Gains Beyond Perceptual Limitations and Revisiting Bending Gains

Including haptic feedback in current consumer VR applications is frequently challenging, since technical possibilities to create haptic feedback in consumer-grade VR are limited. While most systems include and make use of the possibility to create tactile feedback through vibration, kinesthetic feedback systems almost exclusively rely on external mechanical hardware to induce actual sensations so far. In this paper, we describe an approach to create a feeling of such sensations by using unmodified off-the-shelf hardware and a software solution for a multi-modal pseudo-haptics approach. We first explore this design space by applying user-elicited methods, and afterwards evaluate our refined solution in a user study. The results show that it is indeed possible to communicate kinesthetic feedback by visual and tactile cues only and even induce its perception. While visual clipping was generally unappreciated, our approach led to significant increases of enjoyment and presence.

Michael Rietzler

Papers

Breaking the Tracking: Enabling Weight Perception using Perceivable Tracking Offsets

Exploring End User Programming Needs in Home Automation

VaiR: Simulating 3D Airflows in Virtual Reality

Rethinking Redirected Walking: On the Use of Curvature Gains Beyond Perceptual Limitations and Revisiting Bending Gains

Conveying the Perception of Kinesthetic Feedback in Virtual Reality using State-of-the-Art Hardware