Modern rehabilitation processes for neurological patients have been widely assisted by robotic structures, with continuous research and improvements. The use of robotic assistance in rehabilitation is a consolidated technique for upper limb training sessions. However, human gait robotic rehabilitation still needs further research and development. Based on that, this paper deals with the development of a novel active body weight support (BWS) system integrated with a serious game for poststroke patients. This paper starts with a brief review of the state of the art of applied technologies for gait rehabilitation. Next, it presents the obtained mathematical model followed by multibody synthesis techniques and meta-heuristic optimization to the proposed device. The control of the structure is designed using proportional integral derivative (PID) controllers tuned with meta-heuristic optimization and associated with a suppression function to perform assist-as-needed actions. Then, the prototype is integrated with a serious game designed specifically for this application. Finally, a pilot study is conducted with the structure and healthy volunteers. The results obtained show that the mobility of the novel BWS is as expected and the proposed system potentially offers a novel tool for gait training.

Artificial intelligence has provided many breakthroughs in the field of computer vision. The fully convolutional networks U-Net in particular have provided very promising results in the problem of retrieving rain rates from space-borne observations, a challenge that has persisted over the past few decades. The rain intensity is estimated from the measurement of the brightness temperatures on different microwave channels. However, these channels are slightly different depending on the satellite. In the case where a retrieval model has been developed from a single satellite, it may be advantageous to use domain adaptation methods in order to make this model compatible with all the satellites of the constellation. In this proposed feasibility study, a Cycle Generative Adversarial Nets model is used for adapting one set of brightness temperature channels to another set. Results of a toy experiment show that this method is able to provide qualitatively good precipitation structure but still could be improved in terms of precision.

Simulations of future climate contain variability arising from a number of sources, including internal stochasticity and external forcings. However, to the best of our abilities climate models and the true observed climate depend on the same underlying physical processes. In this paper, we simultaneously study the outputs of multiple climate simulation models and observed data, and we seek to leverage their mean structure as well as interdependencies that may reflect the climate’s response to shared forcings. Bayesian modeling provides a fruitful ground for the nuanced combination of multiple climate simulations. We introduce one such approach whereby a Gaussian process is used to represent a mean function common to all simulated and observed climates. Dependent random effects encode possible information contained within and between the plurality of climate model outputs and observed climate data. We propose an empirical Bayes approach to analyze such models in a computationally efficient way. This methodology is amenable to the CMIP6 model ensemble, and we demonstrate its efficacy at forecasting global average near-surface air temperature. Results suggest that this model and the extensions it engenders may provide value to climate prediction and uncertainty quantification.

Method development is at the heart of design research as methods are a formalised way to express knowledge about how aspects of design could or should be done. However, assuring that methods are in fact used in industry has remained a challenge. Industry will only use methods that they can understand and that they feel will give them benefit reliably. To understand the challenges involved in adopting a method, the method needs to be seen in context: it does not exist in isolation but forms a part of an ecosystem of methods for tackling related design problems. A method depends on the knowledge and skills of the practitioners using it: while a description of a method is an artefact that is a formalisation of engineering knowledge, a method in use constitutes a socio-technical system depending on the interaction of human participants with each other as well as with the description of the method, representations of design information and, often, tools for carrying out the method’s tasks. This paper argues that crucial factors in the adoption of methods include how well they are described and how convincingly they are evaluated. The description of a method should cover its core idea, the representations in which design information is described, the procedure to be followed, its intended use, and the tools it uses. The account of a method’s intended use should cover its purpose, the situations or product types within its scope, its coverage of kinds of problems within its scope, its expected benefit and conditions for its use. The different elements need to be evaluated separately as well as the method as an integrated whole. While verification and validation are important for some elements of methods, it is rarely possible to prove the validity of a method. Rather the developers of methods need to gather sufficient evidence that a method will work within a clearly articulated scope. Most design methods do not have binary success criteria, and their usefulness in practice depends as much on simplicity and usability as on the outcomes they produce. Evaluation should focus on how well they work, and how they can be customised and improved.

Fiduciary agents and trust-based institutions are increasingly proposed and considered in legal, regulatory, and ethical discourse as an alternative or addition to a control-based model of data management. Instead of leaving it up to the citizen to decide what to do with her data and to ensure that her best interests are met, an independent person or organization will act on her behalf, potentially also taking into account the general interest. By ensuring that these interests are protected, the hope is that citizens’ willingness to share data will increase, thereby allowing for more data-driven projects. Thus, trust-based models are presented as a win–win scenario. It is clear, however, that there are also apparent dangers entailed with trust-based approaches. Especially one model, that of data trusts, may have far-reaching consequences.

The aim of this paper is to provide a complete Natural Kind Semantics for an Essentialist Theory of Kinds. The theory is formulated in two-sorted first order monadic modal logic with identity. The natural kind semantics is based on Rudolf Willes Theory of Concept Lattices. The semantics is then used to explain several consequences of the theory, including results about the specificity (species–genus) relations between kinds, the definitions of kinds in terms of genera and specific differences and the existence of negative kinds. First, I show under which conditions the Hierarchy principle, which has been subjected to counterexamples in the literature, holds. I also show that a different principle about the species–genus relations between kinds, namely Kant’s Law, follows from the essentialist theory. Second, I introduce two new operations for kinds and show that they can be used to provide traditional definitions of kinds in terms of genera and specific differences. Finally, I show that these operations of specific difference induce, for each kind, a uniquely specified contrary kind and a uniquely specified subcontrary kind, which can be used as semantic values for non-classical predicate negations of kind terms.

In this perspective, I give my answer to the question of how quantum computing will impact on data-intensive applications in engineering and science. I focus on quantum Monte Carlo integration as a likely source of (relatively) near-term quantum advantage, but also discuss some other ideas that have garnered widespread interest.

We demonstrate the use of a probabilistic machine-learning technique to develop stochastic parameterizations of atmospheric column physics. After suitable preprocessing of NASA’s Modern-Era Retrospective analysis for Research and Applications, version 2 (MERRA2) data to minimize the effects of high-frequency, high-wavenumber component of MERRA2 estimate of vertical velocity, we use generative adversarial networks to learn the probability distribution of vertical profiles of diabatic sources conditioned on vertical profiles of temperature and humidity. This may be viewed as an improvement over previous similar but deterministic approaches that seek to alleviate both, shortcomings of human-designed physics parameterizations, and the computational demand of the “physics” step in climate models.

Yarlung Zangbo is a multimedia symphony combining orchestra, visual images and electroacoustic music by one of China’s most internationally influential electroacoustic music composers, Zhang Xiaofu. This article focuses on the spatial aspects of Yarlung Zangbo. First, we discuss two different spatial composition preferences in electroacoustic music: image delivery and creation. We then divide the development of electroacoustic orchestral music into three different periods and examine the general spatial intention of the works in these periods. Finally, we analyse and identify four spatial composition strategies of Yarlung Zangbo: equity, virtuosity, diversity and unity. The successful utilisation of these strategies has not only made the piece a milestone in Chinese electroacoustic music, but also a unique and meaningful contribution to the electroacoustic music repertoire worldwide. We believe this article will provide valuable knowledge and insight for future research and practice of spatial composition.

The importance that Chinese composers attach to their nation’s cultural traditions in their electronic music compositions has become a dominant trend in Chinese electronic music. This has generally led to a ‘Chinese imagery’ in Chinese electronic music compositions. Among China-inspired electroacoustic music, the interactive multimedia work A Reflection in the Brook (小青, 2013) shows a unique expression. The author explores how the composer recreated a controversial female figure in Chinese history through a completely real-time audiovisual language: Feng Xiaoqing, thereby presenting Chinese imagery in electroacoustic music through an alternative approach. The audiovisual relationship in A Reflection in the Brook will be analysed through the lens of Michel Chion’s audiovisual theory and the perspective of musical composition techniques, further presenting the audiovisual aesthetics of multimedia electronic music.

Liubai (留白, literally ‘leaving blankness’) is a unique method of expression in Chinese classical paintings. The core spirit of the technique is inextricably linked to ancient Chinese Taoism and traditional aesthetics, which are prominently featured by simplicity and nationality. This article, taking the real-time interactive electroacoustic Chinese art song ‘Lang Tao Sha’ (浪淘沙), explores the use of the artistic technique of liubai from the perspective of a soprano singer by focusing on the three aspects of lyrics, vocal music and electroacoustic music creation, and singing performance.

The development of computers and technology has made electroacoustic music an important part of modern music. In an effort to broaden the musical dimension and to offer more possibilities for timbral combinations, composers have used various techniques to combine electroacoustic music with acoustic instruments, giving traditional instrumental music a richer timbre, a wider range of pitches and greater sonic expressiveness. The pipa, a typical representative of Chinese music culture, has a long history and its unique timbre is widely loved by electroacoustic music composers. This article uses Marc Battier’s mixed music Mist on a Hill (for pipa and electroacoustic sounds) as an example to explore the integration and practical use of Chinese folk elements in electroacoustic music.

This text deals with the difficult task of notating timbre by addressing how it can be classified, synthesised, recognised and related to visual correspondences, and then looking at the relevance of these topics for notational purposes. Timbre is understood as dependent on both spectral and time-dependent features that can be notated in ways that make sense in relation to both perception and acoustics. This is achieved by taking the starting point in Lasse Thoresen’s spectromorphological analysis. Symbols originally developed for perception-based analysis are adapted for use over a hybrid spectrum-staff system to indicate the spectral qualities of timbre. To test the system, it was used to transcribe excerpts of three classic electroacoustic music works. In addition to the benefit of being able to compare the three excerpts transcribed with the same system, there is the advantage that the visual representation is based on spectral measurable qualities in the music. The notation system’s intuitiveness was also explored in listening tests, showing that it was possible to understand spectral notation symbols placed over a staff system, particularly for examples with two sound objects instead of one.

This article analyses recent developments of sonic art in Hong Kong. Based on a series of in-depth interviews with 23 local sonic art practitioners over the past six years, we discuss the contextual understanding of what constitutes ‘sonic art’ among local practitioners, along neighbouring terms such as ‘electroacoustic music’, ‘experimental music’ and ‘computer music’. We also give a description of the new generation of sonic art practitioners who emerged over the past ten years, contributing to a renewed sense of professionalism. These developments can be understood in relation to four aspects: a strong cluster of interrelated higher education institutions; a shift in public policy supporting ‘art and tech’ projects and cultural organisations; specific individuals, practitioners deeply invested in what we here define as sonic arts, acting as passeurs, connecting underground and academic milieux; and the international integration of Hong Kong-based sonic artists and promoters.

In this article, I discuss the case of Chinese electroacoustic music with a focus on contemporary music, Asian instruments and mixed music. I pay particular attention to mixed music, without however limiting myself to it, also dealing with contemporary Western-style instrumental music. Several authors have discussed the question of the relationship between contemporary creation and certain stylistic factors of Asian cultures. They questioned what might constitute identifiable traits unique to Asia that could be observed in contemporary creations and they sought to determine whether systems of relationships can be established. Some, such as Chou Wen-Chung (周文中 Zhou Wenzhong), emphasised syncretism, thus establishing a link with the works of anthropology and cultural studies. In his 1971 article, ‘Asian Concepts and Twentieth-Century Western Composers’, Chou cites many examples that tend to emphasise notions of integration and syncretism across various stylistic gradients found in many composers, mostly Western. More recently, musicologist Yayoi Uno Everett described distinct categories in these relationships, on the part of both Asian and Western composers. This article attempts to find which cultural gradients can be observed in the electroacoustic music production of Chinese composers. For instance, the specific case of mixed music creates an unprecedented situation of contact between instrument and sound material in the context of renewed intercultural relations.