38 research outputs found
Grasp planning under uncertainty
Advanced robots such as mobile manipulators offer nowadays great opportunities for realistic manipulators. Physical interaction with the environment is an essential capability for service robots when acting in unstructured environments such as homes. Thus, manipulation and grasping under uncertainty has become a critical research area within robotics research.
This thesis explores techniques for a robot to plan grasps in presence of uncertainty in knowledge about objects such as their pose and shape. First, the question how much information about the graspable object the robot can perceive from a single tactile exploration attempt is considered. Next, a tactile-based probabilistic approach for grasping which aims to maximize the probability of a successful grasp is presented. The approach is further extended to include information gathering actions based on maximal entropy reduction. The combined framework unifies ideas behind planning for maximally stable grasps, the possibilities of sensor-based grasping and exploration.
Another line of research is focused on grasping familiar object belonging to a specific category. Moreover, the task is also included in the planning process as in many applications the resulting grasp should be not only stable but task compatible. The vision-based framework takes the idea of maximizing grasp stability in the novel context to cover shape uncertainty. Finally, the RGB-D vision-based probabilistic approach is extended to include tactile sensor feedback in the control loop to incrementally improve estimates about object shape and pose and then generate more stable task compatible grasps.
The results of the studies demonstrate the benefits of applying probabilistic models and using different sensor measurements in grasp planning and prove that this is a promising direction of study and research. Development of such approaches, first of all, contributes to the rapidly developing area of household applications and service robotics
ΠΠ»ΠΎΠΆΠ΅Π½ΠΈΡ Π² ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΊΠ°ΠΊ Π΄ΠΎΠ»Π³ΠΎΡΡΠΎΡΠ½ΡΠ΅ ΠΈΠ½Π²Π΅ΡΡΠΈΡΠΈΠΈ: ΡΠΊΠΎΠ½ΠΎΠΌΠΈΠΊΠΎ-ΡΡΠ°ΡΠΈΡΡΠΈΡΠ΅ΡΠΊΠΈΠΉ Π°Π½Π°Π»ΠΈΠ·
This article presents the results of the authorsβ research on proving the statistical hypothesis on the validity of including investments inΒ works of art into the so-called safe-haven investments. The author argues with the traditional among investors and experts - art marketΒ researchers view investments in cultural assets as long-termΒ investments, guaranteeing the owners the highest profits with a lagΒ of two decades.Β The questions concerning the information andΒ analytical base of the research, the use of grouping methods andΒ analysis of variance areΒ described. Based on the empirical analysis,Β the author draws conclusions regarding three basic trends in support of investment opportunitiesΒ in the cultural property market, which,Β however, can not be unequivocally interpreted in favor of treatingΒ investments in art as a shelterΒ investment. QuantitativeΒ characteristics, reflecting the classification difference between the art market players, are calculated. In the finalΒ part of the article theΒ author stresses that in modern conditions it is unreasonable toΒ exaggerate the influence of time (a time lag of 20 years) in strategic decisions on investment activity in the art market.Π Π΄Π°Π½Π½ΠΎΠΉ ΡΡΠ°ΡΡΠ΅ ΠΏΡΠΈΠ²Π΅Π΄Π΅Π½Ρ ΡΠ΅Π·ΡΠ»ΡΡΠ°ΡΡ Π°Π²ΡΠΎΡΡΠΊΠΈΡ
ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΠΉ ΠΏΠΎ ΠΏΡΠΎΠ²Π΅ΡΠΊΠ΅ ΡΡΠ°ΡΠΈΡΡΠΈΡΠ΅ΡΠΊΠΎΠΉ Π³ΠΈΠΏΠΎΡΠ΅Π·Ρ ΠΎ ΠΏΡΠ°Π²ΠΎΠΌΠ΅ΡΠ½ΠΎΡΡΠΈΒ ΠΎΡΠ½Π΅ΡΠ΅Π½ΠΈΡ Π²Π»ΠΎΠΆΠ΅Π½ΠΈΠΉ Π² ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΊ ΡΠ°ΠΊ Π½Π°Π·ΡΠ²Π°Π΅ΠΌΡΠΌ ΠΈΠ½Π²Π΅ΡΡΠΈΡΠΈΡΠΌ-ΡΠ±Π΅ΠΆΠΈΡΠ°ΠΌ. ΠΠ²ΡΠΎΡ ΠΏΠΎΠ»Π΅ΠΌΠΈΠ·ΠΈΡΡΠ΅Ρ, Π² ΡΠ°ΡΡΠ½ΠΎΡΡΠΈ,Β Ρ ΡΡΡΠΎΡΠ²ΡΠΈΠΌΡΡ ΠΌΠ½Π΅Π½ΠΈΠ΅ΠΌ ΡΡΠ΅Π΄ΠΈΒ ΠΈΠ½Π²Π΅ΡΡΠΎΡΠΎΠ² ΠΈ ΡΠΏΠ΅ΡΠΈΠ°Π»ΠΈΡΡΠΎΠ²-ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°ΡΠ΅Π»Π΅ΠΉ ΡΡΠ½ΠΊΠ° Ρ
ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΡ
ΡΠ΅Π½Π½ΠΎΡΡΠ΅ΠΉ,Β ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°ΡΡΠΈΡ
Π²Π»ΠΎΠΆΠ΅Π½ΠΈΡ Π² Π½ΠΈΡ
ΠΊΠ°ΠΊ Π΄ΠΎΠ»Π³ΠΎΡΡΠΎΡΠ½ΡΠ΅ ΠΈΠ½Π²Π΅ΡΡΠΈΡΠΈΠΈ, Π³Π°ΡΠ°Π½ΡΠΈΡΡΡΡΠΈΠ΅Β Π²Π»Π°Π΄Π΅Π»ΡΡΠ°ΠΌ Π½Π°ΠΈΠ²ΡΡΡΡΡ ΠΏΡΠΈΠ±ΡΠ»Ρ Ρ Π»Π°Π³ΠΎΠΌ Π² Π΄Π²Π° Π΄Π΅ΡΡΡΠΈΠ»Π΅ΡΠΈΡ.Β ΠΠ·Π»ΠΎΠΆΠ΅Π½Ρ Π²ΠΎΠΏΡΠΎΡΡ, ΠΎΡΠ½ΠΎΡΡΡΠΈΠ΅ΡΡ ΠΊ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΠΎΠ½Π½ΠΎ-Π°Π½Π°Π»ΠΈΡΠΈΡΠ΅ΡΠΊΠΎΠΉ Π±Π°Π·Π΅ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ, ΠΈΡΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°Π½ΠΈΡ ΠΌΠ΅ΡΠΎΠ΄ΠΎΠ² Π³ΡΡΠΏΠΏΠΈΡΠΎΠ²ΠΎΠΊ ΠΈΒ Π΄ΠΈΡΠΏΠ΅ΡΡΠΈΠΎΠ½Π½ΠΎΠ³ΠΎ Π°Π½Π°Π»ΠΈΠ·Π°. ΠΠ° ΠΎΡΠ½ΠΎΠ²Π΅ ΡΠΌΠΏΠΈΡΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ Π°Π½Π°Π»ΠΈΠ·Π° ΡΠΎΡΠΌΡΠ»ΠΈΡΡΡΡΡΡΒ Π²ΡΠ²ΠΎΠ΄Ρ ΠΎΡΠ½ΠΎΡΠΈΡΠ΅Π»ΡΠ½ΠΎ ΡΡΠ΅Ρ
Π±Π°Π·ΠΎΠ²ΡΡ
ΡΠ΅Π½Π΄Π΅Π½ΡΠΈΠΉ Π² ΠΏΠΎΠ»ΡΠ·ΡΒ ΠΈΠ½Π²Π΅ΡΡΠΈΡΠΈΠΎΠ½Π½ΡΡ
Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠ΅ΠΉΒ ΡΡΠ½ΠΊΠ° ΠΊΡΠ»ΡΡΡΡΠ½ΡΡ
ΡΠ΅Π½Π½ΠΎΡΡΠ΅ΠΉ, ΠΊΠΎΡΠΎΡΡΠ΅, Π²ΠΏΡΠΎΡΠ΅ΠΌ, Π½Π΅ ΠΌΠΎΠ³ΡΡ ΠΎΠ΄Π½ΠΎΠ·Π½Π°ΡΠ½ΠΎ ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠΈΡΠΎΠ²Π°ΡΡΡΡ Π²Β ΠΏΠΎΠ»ΡΠ·Ρ ΡΡΠ°ΠΊΡΠΎΠ²ΠΊΠΈ Π²Π»ΠΎΠΆΠ΅Π½ΠΈΠΉ Π² ΠΏΡΠ΅Π΄ΠΌΠ΅ΡΡ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΊΠ°ΠΊ ΠΈΠ½Π²Π΅ΡΡΠΈΡΠΈΠΉ-ΡΠ±Π΅ΠΆΠΈΡ. Π Π°ΡΡΡΠΈΡΠ°Π½ΡΒ ΠΊΠΎΠ»ΠΈΡΠ΅ΡΡΠ²Π΅Π½Π½ΡΠ΅ Ρ
Π°ΡΠ°ΠΊΡΠ΅ΡΠΈΡΡΠΈΠΊΠΈ,Β ΠΎΡΡΠ°ΠΆΠ°ΡΡΠΈΠ΅ ΠΊΠ»Π°ΡΡΠΈΡΠΈΠΊΠ°ΡΠΈΠΎΠ½Π½ΠΎΠ΅ ΡΠ°Π·Π»ΠΈΡΠΈΠ΅ ΡΡΠ°ΡΡΠ½ΠΈΠΊΠΎΠ²Β ΡΡΠ½ΠΊΠ° ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠΉ ΠΈΡΠΊΡΡΡΡΠ²Π°. ΠΠ²ΡΠΎΡΠΎΠΌ Π² Π·Π°ΠΊΠ»ΡΡΠΈΡΠ΅Π»ΡΠ½ΠΎΠΉ ΡΠ°ΡΡΠΈ ΡΡΠ°ΡΡΠΈΒ ΠΏΠΎΠ΄ΡΠ΅ΡΠΊΠΈΠ²Π°Π΅ΡΡΡ,Β ΡΡΠΎ Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ
ΡΡΠ»ΠΎΠ²ΠΈΡΡ
Π½Π΅ΡΠ΅Π»Π΅ΡΠΎΠΎΠ±ΡΠ°Π·Π½ΠΎ ΠΏΡΠ΅ΡΠ²Π΅Π»ΠΈΡΠΈΠ²Π°ΡΡ Π²Π»ΠΈΡΠ½ΠΈΠ΅ Π²ΡΠ΅ΠΌΠ΅Π½ΠΈ (Π²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉΒ ΠΊΡΠΈΡΠ΅ΡΠΈΠΉ Π² 20 Π»Π΅Ρ) Π²Β ΡΡΡΠ°ΡΠ΅Π³ΠΈΡΠ΅ΡΠΊΠΈΡ
ΡΠ΅ΡΠ΅Π½ΠΈΡΡ
ΠΏΠΎ ΠΈΠ½Π²Π΅ΡΡΠΈΡΠΈΠΎΠ½Π½ΠΎΠΉΒ Π΄Π΅ΡΡΠ΅Π»ΡΠ½ΠΎΡΡΠΈ Π½Π° Π°ΡΡ-ΡΡΠ½ΠΊΠ΅
ΠΠ»ΠΎΠΆΠ΅Π½ΠΈΡ Π² ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΊΠ°ΠΊ Π΄ΠΎΠ»Π³ΠΎΡΡΠΎΡΠ½ΡΠ΅ ΠΈΠ½Π²Π΅ΡΡΠΈΡΠΈΠΈ: ΡΠΊΠΎΠ½ΠΎΠΌΠΈΠΊΠΎ-ΡΡΠ°ΡΠΈΡΡΠΈΡΠ΅ΡΠΊΠΈΠΉ Π°Π½Π°Π»ΠΈΠ·
This article presents the results of the authorsβ research on proving the statistical hypothesis on the validity of including investments inΒ works of art into the so-called safe-haven investments. The author argues with the traditional among investors and experts - art marketΒ researchers view investments in cultural assets as long-termΒ investments, guaranteeing the owners the highest profits with a lagΒ of two decades.Β The questions concerning the information andΒ analytical base of the research, the use of grouping methods andΒ analysis of variance areΒ described. Based on the empirical analysis,Β the author draws conclusions regarding three basic trends in support of investment opportunitiesΒ in the cultural property market, which,Β however, can not be unequivocally interpreted in favor of treatingΒ investments in art as a shelterΒ investment. QuantitativeΒ characteristics, reflecting the classification difference between the art market players, are calculated. In the finalΒ part of the article theΒ author stresses that in modern conditions it is unreasonable toΒ exaggerate the influence of time (a time lag of 20 years) in strategic decisions on investment activity in the art market.Π Π΄Π°Π½Π½ΠΎΠΉ ΡΡΠ°ΡΡΠ΅ ΠΏΡΠΈΠ²Π΅Π΄Π΅Π½Ρ ΡΠ΅Π·ΡΠ»ΡΡΠ°ΡΡ Π°Π²ΡΠΎΡΡΠΊΠΈΡ
ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΠΉ ΠΏΠΎ ΠΏΡΠΎΠ²Π΅ΡΠΊΠ΅ ΡΡΠ°ΡΠΈΡΡΠΈΡΠ΅ΡΠΊΠΎΠΉ Π³ΠΈΠΏΠΎΡΠ΅Π·Ρ ΠΎ ΠΏΡΠ°Π²ΠΎΠΌΠ΅ΡΠ½ΠΎΡΡΠΈΒ ΠΎΡΠ½Π΅ΡΠ΅Π½ΠΈΡ Π²Π»ΠΎΠΆΠ΅Π½ΠΈΠΉ Π² ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΊ ΡΠ°ΠΊ Π½Π°Π·ΡΠ²Π°Π΅ΠΌΡΠΌ ΠΈΠ½Π²Π΅ΡΡΠΈΡΠΈΡΠΌ-ΡΠ±Π΅ΠΆΠΈΡΠ°ΠΌ. ΠΠ²ΡΠΎΡ ΠΏΠΎΠ»Π΅ΠΌΠΈΠ·ΠΈΡΡΠ΅Ρ, Π² ΡΠ°ΡΡΠ½ΠΎΡΡΠΈ,Β Ρ ΡΡΡΠΎΡΠ²ΡΠΈΠΌΡΡ ΠΌΠ½Π΅Π½ΠΈΠ΅ΠΌ ΡΡΠ΅Π΄ΠΈΒ ΠΈΠ½Π²Π΅ΡΡΠΎΡΠΎΠ² ΠΈ ΡΠΏΠ΅ΡΠΈΠ°Π»ΠΈΡΡΠΎΠ²-ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°ΡΠ΅Π»Π΅ΠΉ ΡΡΠ½ΠΊΠ° Ρ
ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΡ
ΡΠ΅Π½Π½ΠΎΡΡΠ΅ΠΉ,Β ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°ΡΡΠΈΡ
Π²Π»ΠΎΠΆΠ΅Π½ΠΈΡ Π² Π½ΠΈΡ
ΠΊΠ°ΠΊ Π΄ΠΎΠ»Π³ΠΎΡΡΠΎΡΠ½ΡΠ΅ ΠΈΠ½Π²Π΅ΡΡΠΈΡΠΈΠΈ, Π³Π°ΡΠ°Π½ΡΠΈΡΡΡΡΠΈΠ΅Β Π²Π»Π°Π΄Π΅Π»ΡΡΠ°ΠΌ Π½Π°ΠΈΠ²ΡΡΡΡΡ ΠΏΡΠΈΠ±ΡΠ»Ρ Ρ Π»Π°Π³ΠΎΠΌ Π² Π΄Π²Π° Π΄Π΅ΡΡΡΠΈΠ»Π΅ΡΠΈΡ.Β ΠΠ·Π»ΠΎΠΆΠ΅Π½Ρ Π²ΠΎΠΏΡΠΎΡΡ, ΠΎΡΠ½ΠΎΡΡΡΠΈΠ΅ΡΡ ΠΊ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΠΎΠ½Π½ΠΎ-Π°Π½Π°Π»ΠΈΡΠΈΡΠ΅ΡΠΊΠΎΠΉ Π±Π°Π·Π΅ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ, ΠΈΡΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°Π½ΠΈΡ ΠΌΠ΅ΡΠΎΠ΄ΠΎΠ² Π³ΡΡΠΏΠΏΠΈΡΠΎΠ²ΠΎΠΊ ΠΈΒ Π΄ΠΈΡΠΏΠ΅ΡΡΠΈΠΎΠ½Π½ΠΎΠ³ΠΎ Π°Π½Π°Π»ΠΈΠ·Π°. ΠΠ° ΠΎΡΠ½ΠΎΠ²Π΅ ΡΠΌΠΏΠΈΡΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ Π°Π½Π°Π»ΠΈΠ·Π° ΡΠΎΡΠΌΡΠ»ΠΈΡΡΡΡΡΡΒ Π²ΡΠ²ΠΎΠ΄Ρ ΠΎΡΠ½ΠΎΡΠΈΡΠ΅Π»ΡΠ½ΠΎ ΡΡΠ΅Ρ
Π±Π°Π·ΠΎΠ²ΡΡ
ΡΠ΅Π½Π΄Π΅Π½ΡΠΈΠΉ Π² ΠΏΠΎΠ»ΡΠ·ΡΒ ΠΈΠ½Π²Π΅ΡΡΠΈΡΠΈΠΎΠ½Π½ΡΡ
Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠ΅ΠΉΒ ΡΡΠ½ΠΊΠ° ΠΊΡΠ»ΡΡΡΡΠ½ΡΡ
ΡΠ΅Π½Π½ΠΎΡΡΠ΅ΠΉ, ΠΊΠΎΡΠΎΡΡΠ΅, Π²ΠΏΡΠΎΡΠ΅ΠΌ, Π½Π΅ ΠΌΠΎΠ³ΡΡ ΠΎΠ΄Π½ΠΎΠ·Π½Π°ΡΠ½ΠΎ ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠΈΡΠΎΠ²Π°ΡΡΡΡ Π²Β ΠΏΠΎΠ»ΡΠ·Ρ ΡΡΠ°ΠΊΡΠΎΠ²ΠΊΠΈ Π²Π»ΠΎΠΆΠ΅Π½ΠΈΠΉ Π² ΠΏΡΠ΅Π΄ΠΌΠ΅ΡΡ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΊΠ°ΠΊ ΠΈΠ½Π²Π΅ΡΡΠΈΡΠΈΠΉ-ΡΠ±Π΅ΠΆΠΈΡ. Π Π°ΡΡΡΠΈΡΠ°Π½ΡΒ ΠΊΠΎΠ»ΠΈΡΠ΅ΡΡΠ²Π΅Π½Π½ΡΠ΅ Ρ
Π°ΡΠ°ΠΊΡΠ΅ΡΠΈΡΡΠΈΠΊΠΈ,Β ΠΎΡΡΠ°ΠΆΠ°ΡΡΠΈΠ΅ ΠΊΠ»Π°ΡΡΠΈΡΠΈΠΊΠ°ΡΠΈΠΎΠ½Π½ΠΎΠ΅ ΡΠ°Π·Π»ΠΈΡΠΈΠ΅ ΡΡΠ°ΡΡΠ½ΠΈΠΊΠΎΠ²Β ΡΡΠ½ΠΊΠ° ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠΉ ΠΈΡΠΊΡΡΡΡΠ²Π°. ΠΠ²ΡΠΎΡΠΎΠΌ Π² Π·Π°ΠΊΠ»ΡΡΠΈΡΠ΅Π»ΡΠ½ΠΎΠΉ ΡΠ°ΡΡΠΈ ΡΡΠ°ΡΡΠΈΒ ΠΏΠΎΠ΄ΡΠ΅ΡΠΊΠΈΠ²Π°Π΅ΡΡΡ,Β ΡΡΠΎ Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΡ
ΡΡΠ»ΠΎΠ²ΠΈΡΡ
Π½Π΅ΡΠ΅Π»Π΅ΡΠΎΠΎΠ±ΡΠ°Π·Π½ΠΎ ΠΏΡΠ΅ΡΠ²Π΅Π»ΠΈΡΠΈΠ²Π°ΡΡ Π²Π»ΠΈΡΠ½ΠΈΠ΅ Π²ΡΠ΅ΠΌΠ΅Π½ΠΈ (Π²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉΒ ΠΊΡΠΈΡΠ΅ΡΠΈΠΉ Π² 20 Π»Π΅Ρ) Π²Β ΡΡΡΠ°ΡΠ΅Π³ΠΈΡΠ΅ΡΠΊΠΈΡ
ΡΠ΅ΡΠ΅Π½ΠΈΡΡ
ΠΏΠΎ ΠΈΠ½Π²Π΅ΡΡΠΈΡΠΈΠΎΠ½Π½ΠΎΠΉΒ Π΄Π΅ΡΡΠ΅Π»ΡΠ½ΠΎΡΡΠΈ Π½Π° Π°ΡΡ-ΡΡΠ½ΠΊΠ΅