Evaluation of Cognitive Architectures for Cyber-Physical Production Systems

Cyber-physical production systems (CPPS) integrate physical and computational resources due to increasingly available sensors and processing power. This enables the usage of data, to create additional benefit, such as condition monitoring or optimization. These capabilities can lead to cognition, such that the system is able to adapt independently to changing circumstances by learning from additional sensors information. Developing a reference architecture for the design of CPPS and standardization of machines and software interfaces is crucial to enable compatibility of data usage between different machine models and vendors. This paper analysis existing reference architecture regarding their cognitive abilities, based on requirements that are derived from three different use cases. The results from the evaluation of the reference architectures, which include two instances that stem from the field of cognitive science, reveal a gap in the applicability of the architectures regarding the generalizability and the level of abstraction. While reference architectures from the field of automation are suitable to address use case specific requirements, and do not address the general requirements, especially w.r.t. adaptability, the examples from the field of cognitive science are well usable to reach a high level of adaption and cognition. It is desirable to merge advantages of both classes of architectures to address challenges in the field of CPPS in Industrie 4.0

Cognitive Capabilities for the CAAI in Cyber-Physical Production Systems

This paper presents the cognitive module of the cognitive architecture for artificial intelligence (CAAI) in cyber-physical production systems (CPPS). The goal of this architecture is to reduce the implementation effort of artificial intelligence (AI) algorithms in CPPS. Declarative user goals and the provided algorithm-knowledge base allow the dynamic pipeline orchestration and configuration. A big data platform (BDP) instantiates the pipelines and monitors the CPPS performance for further evaluation through the cognitive module. Thus, the cognitive module is able to select feasible and robust configurations for process pipelines in varying use cases. Furthermore, it automatically adapts the models and algorithms based on model quality and resource consumption. The cognitive module also instantiates additional pipelines to test algorithms from different classes. CAAI relies on well-defined interfaces to enable the integration of additional modules and reduce implementation effort. Finally, an implementation based on Docker, Kubernetes, and Kafka for the virtualization and orchestration of the individual modules and as messaging-technology for module communication is used to evaluate a real-world use case

Library for A-Scientific Film 2012–2015. Reflection

In the artistic research project Library for A-Scientific Film I explored the ‘genre’ of Scientific Research Film (SRF) as a format for artistic film production. My research focussed on SRF as established by the German Institut für den Wissenschaftlichen Film (IWF)1, a leading institution in the field of scientific film. The IWF’s explicit aim was to make films for science that utilise the medium as a tool for the production of scientific evidence for an expert audience. These films are distinctly different from films about science, and documentaries, which use film as a means of communication for a general audience. Based on my previous work in film and film installation – dealing with historical events and phenomena such as the advent of electric light, or church architecture from the 1950s – this artistic research project is a continuation of my exploration of the artistic appropriation of cinematic genres located at the margins of the documentary, such as police documentation footage, the chronicle, or photogrammetric motion studies. In this written reflection of the project, I will summarise the specificities and characteristics of the genre of SRF in order to then discuss how I dealt with particular aspects of it in my practical experiments – that is in three films/film installations: Two Films about Pressure, Suspended Duration and Safe Disassembly. In Chapter 3, I will lay out the different modes of dissemination of these projects. In Chapter 4, I will review a selection of movements and theories that have provided inspiration and entry points for a critical reading of the genre and my appropriation of it, and in the final chapter I will gather some concluding remarks on my project and provide an outlook for the further trajectories of this project

Library for A-Scientific Film 2012–2015. Reflection

In the artistic research project Library for A-Scientific Film I explored the ‘genre’ of Scientific Research Film (SRF) as a format for artistic film production. My research focussed on SRF as established by the German Institut für den Wissenschaftlichen Film (IWF)1, a leading institution in the field of scientific film. The IWF’s explicit aim was to make films for science that utilise the medium as a tool for the production of scientific evidence for an expert audience. These films are distinctly different from films about science, and documentaries, which use film as a means of communication for a general audience. Based on my previous work in film and film installation – dealing with historical events and phenomena such as the advent of electric light, or church architecture from the 1950s – this artistic research project is a continuation of my exploration of the artistic appropriation of cinematic genres located at the margins of the documentary, such as police documentation footage, the chronicle, or photogrammetric motion studies. In this written reflection of the project, I will summarise the specificities and characteristics of the genre of SRF in order to then discuss how I dealt with particular aspects of it in my practical experiments – that is in three films/film installations: Two Films about Pressure, Suspended Duration and Safe Disassembly. In Chapter 3, I will lay out the different modes of dissemination of these projects. In Chapter 4, I will review a selection of movements and theories that have provided inspiration and entry points for a critical reading of the genre and my appropriation of it, and in the final chapter I will gather some concluding remarks on my project and provide an outlook for the further trajectories of this project

The Passing of a Grain of Sand through a Sieve

The passing of a grain of sand through a sieve, the currents of a riverbed, the ideal human somersault: These are typical subject matters of the scientific motion studies produced by the Institut für den Wissenschaftlichen Film (IWF). Until 2011, the IWF produced thousands of scientific research films to create a large archive of scientific films. These were to respond to pressing research question of the present, but also offer answers to questions which may arise in the future. Andreas Bunte’s project "Library for A-Scientific Film" investigates this highly specialized film genre as a format for artistic production. Within the framework of his three-year research period as a fellow of the Norwegian Artistic Research Programme at the Academy of Fine Art in Oslo, Andreas Bunte has produced a number of films appropriating aspects of the explicitly anti-narrative method of filmmaking that the genre has generated. His artistic research project examines the filmic grammar and the conceptual underpinnings of scientific research film in terms of its proposed objectivity, as well as its connections to contemporary theory and the most recent developments in ethnographic filmmaking. The exhibition "The Passing of a Grain of Sand through a Sieve" at Akademirommet and the Auditorium at Kunstnernes Hus marks the closure of Bunte’s work as a research fellow and assembles the films he produced during the research period. His most recent production "Safe Disassembly", 2015, will premiere at the occasion. It was shot in a former ammunition production factory in the former GDR, which today deals with the careful dissection of cluster ammunition

Library for A-Scientific Film. Disputas

Videoopptak av disputas, Kunsthøgskolen i Oslo, 10. mai 2016. Andreas Bunte forsvarer sitt arbeid "Library for A-Scientific Film". Bedømmelseskomité: Dr. Renate Lorenz (leder), Dr. Thomas Elsaesser og Florian Wüst

The Passing of a Grain of Sand through a Sieve

The passing of a grain of sand through a sieve, the currents of a riverbed, the ideal human somersault: These are typical subject matters of the scientific motion studies produced by the Institut für den Wissenschaftlichen Film (IWF). Until 2011, the IWF produced thousands of scientific research films to create a large archive of scientific films. These were to respond to pressing research question of the present, but also offer answers to questions which may arise in the future. Andreas Bunte’s project "Library for A-Scientific Film" investigates this highly specialized film genre as a format for artistic production. Within the framework of his three-year research period as a fellow of the Norwegian Artistic Research Programme at the Academy of Fine Art in Oslo, Andreas Bunte has produced a number of films appropriating aspects of the explicitly anti-narrative method of filmmaking that the genre has generated. His artistic research project examines the filmic grammar and the conceptual underpinnings of scientific research film in terms of its proposed objectivity, as well as its connections to contemporary theory and the most recent developments in ethnographic filmmaking. The exhibition "The Passing of a Grain of Sand through a Sieve" at Akademirommet and the Auditorium at Kunstnernes Hus marks the closure of Bunte’s work as a research fellow and assembles the films he produced during the research period. His most recent production "Safe Disassembly", 2015, will premiere at the occasion. It was shot in a former ammunition production factory in the former GDR, which today deals with the careful dissection of cluster ammunition

Entwicklung einer ontologiebasierten Beschreibung zur Erhöhung des Automatisierungsgrades in der Produktion

Die zu beobachtenden kürzeren Produktlebenszyklen und eine schnellere Marktdurchdringung von Produkttechnologien erfordern adaptive und leistungsfähige Produktionsanlagen. Die Adaptivität ermöglicht eine Anpassung der Produktionsanlage an neue Produkte, und die Leistungsfähigkeit der Anlage stellt sicher, dass ausreichend Produkte in kurzer Zeit und zu geringen Kosten hergestellt werden können. Durch eine Modularisierung der Produktionsanlage kann die Adaptivität erreicht werden. Jedoch erfordert heutzutage jede Adaption manuellen Aufwand, z.B. zur Anpassung von proprietären Signalen oder zur Anpassung übergeordneter Funktionen. Dadurch sinkt die Leistungsfähigkeit der Anlage. Das Ziel dieser Arbeit ist es, die Interoperabilität in Bezug auf die Informationsverwendung in modularen Produktionsanlagen zu gewährleisten. Dazu werden Informationen durch semantische Modelle beschrieben. Damit wird ein einheitlicher Informationszugriff ermöglicht, und übergeordnete Funktionen erhalten Zugriff auf alle Informationen der Produktionsmodule, unabhängig von dem Typ, dem Hersteller und dem Alter des Moduls. Dadurch entfällt der manuelle Aufwand bei Anpassungen des modularen Produktionssystems, wodurch die Leistungsfähigkeit der Anlage gesteigert und Stillstandszeiten reduziert werden. Nach dem Ermitteln der Anforderungen an einen Modellierungsformalismus wurden potentielle Formalismen mit den Anforderungen abgeglichen. OWL DL stellte sich als geeigneter Formalismus heraus und wurde für die Erstellung des semantischen Modells in dieser Arbeit verwendet. Es wurde exemplarisch ein semantisches Modell für die drei Anwendungsfälle Interaktion, Orchestrierung und Diagnose erstellt. Durch einen Vergleich der Modellierungselemente von unterschiedlichen Anwendungsfällen wurde die Allgemeingültigkeit des Modells bewertet. Dabei wurde gezeigt, dass die Erreichung eines allgemeinen Modells für technische Anwendungsfälle möglich ist und lediglich einige Hundert Begriffe benötigt. Zur Evaluierung der erstellten Modelle wurde ein wandlungsfähiges Produktionssystem der SmartFactoryOWL verwendet, an dem die Anwendungsfälle umgesetzt wurden. Dazu wurde eine Laufzeitumgebung erstellt, die die semantischen Modelle der einzelnen Module zu einem Gesamtmodell vereint, Daten aus der Anlage in das Modell überträgt und eine Schnittstelle für die Services bereitstellt. Die Services realisieren übergeordnete Funktionen und verwenden die Informationen des semantischen Modells. In allen drei Anwendungsfällen wurden die semantischen Modelle korrekt zusammengefügt und mit den darin enthaltenen Informationen konnte die Aufgabe des jeweiligen Anwendungsfalles ohne zusätzlichen manuellen Aufwand gelöst werden