RGB-D Recognition and Localization of Cases for Robotic Depalletizing in Supermarkets

Integrating a robotic system into the depalletizing process of a supermarket demands a high level of autonomy, based on strong perceptive capabilities. This letter presents a system for detection, recognition, and localization of heterogeneous cases in a depalletizing robotic cell, using a single RGB-D camera. Such a system integrates apriori information on the content of the pallet with data from the RGB-D camera, exploiting a sequence of 2D and 3D model-based computer-vision algorithms. The effectiveness of the proposed methodology is assessed in an experiment where multiple cases and pallet configurations are considered. Finally, a complete depalletizing process is shown

A Reconfigurable Gripper for Robotic Autonomous Depalletizing in Supermarket Logistics

Automatic depalletizing is becoming a practice widely applied in warehouses to automatize and speed-up logistics. On the other hand, the necessity to adapt the preexisting logistic lines to a custom automatic system can be a limit for the application of robotic solutions into smaller facilities like supermarkets. In this work, we tackle this issue by proposing a flexible and adaptive gripper for robotic depalletizing. The gripper is designed to be assembled on the end-tip of an industrial robotic arm. A novel patent-pending mechanism allows grasping boxes and products from both the upper and the lateral side enabling the depalletizing of boxes with complex shape. Moreover, the gripper is reconfigurable with five actuated degrees of freedom, that are automatically controlled using the embedded sensors to adapt grasping to different shapes and weights

A Flexible Robotic Depalletizing System for Supermarket Logistics

Depalletizing robotic systems are commonly deployed to automatize and speed-up parts of logistic processes. Despite this, the necessity to adapt the preexisting logistic processes to the automatic systems often impairs the application of such robotic solutions to small business realities like supermarkets. In this work we propose a robotic depalletizing system designed to be easily integrated into supermarket logistic processes. The system has to schedule, monitor and adapt the depalletizing process considering both on-line perceptual information given by non-invasive sensors and constraints provided by the high-level management system or by a supervising user. We describe the overall system discussing two case studies in the context of a supermarket logistic process. We show how the proposed system can manage multiple depalletizing strategies and multiple logistic requests

Towards Packaging Unit Detection for Automated Palletizing Tasks

For various automated palletizing tasks, the detection of packaging units is a crucial step preceding the actual handling of the packaging units by an industrial robot. We propose an approach to this challenging problem that is fully trained on synthetically generated data and can be robustly applied to arbitrary real world packaging units without further training or setup effort. The proposed approach is able to handle sparse and low quality sensor data, can exploit prior knowledge if available and generalizes well to a wide range of products and application scenarios. To demonstrate the practical use of our approach, we conduct an extensive evaluation on real-world data with a wide range of different retail products. Further, we integrated our approach in a lab demonstrator and a commercial solution will be marketed through an industrial partner

移載ロボット用エンドエフェクタの省駆動軸構成に関する研究

芝浦工業大学2020年

Dancing Media: The Contagious Movement of Posthuman Bodies (or Towards A Posthuman Theory of Dance)

My dissertation seeks to define a posthuman theory of dance through a historical study of the dancer as an instrument or technology for exploring emergent visual media, and by positioning screendance as an experimental technique for animating posthuman relation and thought. Commonly understood as ephemeral, dance is produced by assemblages that include bodies but are not limited to them. In this way, dance exceeds the human body. There is a central tension in the practice of dance, between the persistent presumption of the dancing body as a channel for human expression, and dance as a technicity of the body—a discipline and a practice of repeated gesture—that calls into question categories of the human. A posthuman theory of dance invites examination of such tensions and interrogates traditional notions of authenticity, ownership and commodification, as well as the bounded, individual subject who can assess the surrounding world with precise clarity, certain of where the human begins and ends. The guiding historical question for my dissertation is: if it is possible to describe both a modern form of posthuman dance (turn of the 19th-20th century), and a more recent form of posthuman dance (turn of the 20th-21st century), are they part of the same assemblage or are they constituted differently, and if so, how? Throughout my four chapters, I explore an array of case studies from early modernism to advanced capitalism, including Loie Fuller’s otherworldly stage dances; the scientific motion studies of Muybridge and Marey; Fritz Lang’s dancing maschinenmensch (or the first on-screen dancing machine) in the 1927 film Metropolis; the performances of singer-dancer hologram pop star, Hatsune Miku; and American engineering firm Boston Dynamics’ dancing military robots. The figure of the “dancing machine” (McCarren) is central to my project, especially given that dance has historically been used as a means of testing machines—from automata to robots to CGI images animated with MoCap—in their capacity to be lively or human-like. In each case, I am interested in how dance continues to be productive of some kind of subjectivity (or interiority, or “soul”), even in the absence of the human body, and how technique and gesture passes between bodies, both virtual and organic, dispersing agency often attributed to the human alone. I propose that a posthuman theory of dance is a necessary intervention to the broad and contradictory field of posthumanism because dance returns us to questions about bodies that are often suspiciously ignored in theories of posthumanism, especially regarding race (and historically racist categories of non/inhumanity), thereby exposing many of posthumanism’s biases, appropriations, dispossessions and erasures. Throughout my dissertation, I look to dance as both a concrete example and as a method of thinking through the potentials and limitations of posthumanism