Abstract
In this paper, we advance a multimodal optimization music mashup creation model for loop recombination at scale. The motivation to pursue such a model is to 1) tackle current scalability limitations in state-of-the-art (brute force) models while enforcing the 2) compatibility, i.e., recombination quality, of audio loops, and 3) a pool of diverse solutions that can accommodate personal user preferences or promote different musical styles. To this end, we adopt the Artificial Immune System (AIS) opt-aiNet algorithm to efficiently compute a population of compatible and diverse mashups from loop recombinations. Optimal mashups result from local minima in a feature space that objectively represents harmonic and rhythmic compatibility. We implemented our model as a prototype application named Mixmash-AIS, and conducted an objective evaluation that tackles three dimensions: loop recombination compatibility, mashups diversity, and computational model efficiency. The conducted evaluation compares the proposed system to a standard genetic algorithm (GA) and a brute force (BF) approach. While the GA stands as the most efficient algorithm, its poor results in terms of compatibility reinforce the primacy of the AIS opt-aiNet in efficiently finding optimal compatible loop mashups. Furthermore, the AIS opt-aiNet showed to promote a diverse mashup population, outperforming both GA or BF approaches. © 2021 Owner/Author.

Abstract
Sound design has been a fundamental component of audiovisual storytelling in linear media. However, with recent technological developments and the shift towards non-linear and immersive media, things are rapidly changing. More sensory information is available and, at the same time, the user is gaining agency upon the narrative, being offered the possibility of navigating or making other decisions. These new characteristics of immersive environments bring new challenges to storytelling in interactive narratives and require new strategies and techniques for audiovisual narrative progression. Can technology offer an immersive environment where the user has the sensation of agency, of choice, where her actions are not mediated by evident controls but subliminally induced in a way that it is ensured that a narrative is being followed? Can sound be a subliminal element that induces attentional focus on the most relevant elements for the narrative, inducing storytelling and biasing search in an immersive non-linear audiovisual environment? Herein, we present a literature review that has been guided by this prospect. With these questions in view, we present our exploration process in finding possible answers and potential solution paths. We point out that consistency, in terms of coherency across sensory modalities and emotional matching may be a critical aspect. Finally, we consider that this review may open up new paths for experimental studies that could, in the future, provide new strategies in the practice of sound design in the context of non-linear media.

Abstract
Since the beginning of the XXI century, we have been witnessing a significant shift in the media landscape towards enhanced immersive audiovisual manifestations, from controlled research environments to gradual production market penetration. Virtual reality, augmented reality, mixed reality, extended reality, 360 degrees video, and digital games are representative examples of these immersive technologies. Spatial audio design and production are instrumental to the immersive experience. As Ambisonics techniques do potentially mean more expense - in memory, processing power, and production budget -, limited exploration in the development of new composition and production methodologies across popular music production has been considered beyond the traditional stereophonic format. Our work details a post-production case study using spatial audio, namely High Order Ambisonics. The case study is a Brazilian popular song, remixed using 3rd order Ambisonics from a multitrack recording session composed of monophonic and stereophonic audio tracks. The song encompasses a unique approach for audio spatialization guided by hierarchical audio content attributes across multiple structural time scales and musical contexts. The evaluation of our production process adopted iterative heuristic assessments comparing technical decisions and aesthetic intentions in fostering an augmented spatial audio song. A set of technical guidelines and good practices on how and why to positioning audio in space are abstracted from our case study evaluation, which critically advances the theory and practice of popular musical audio production in immersive technologies.

Abstract
Sap flow measurements of trees are today the most common method to determine evapotranspiration at the tree and the forest/crop canopy level. They provide independent measurements for flux comparisons and model validation. The most common approach to measure the sap flow is based on intrusive solutions with heaters and thermal sensors. This sap flow sensor technology is not very reliable for more than one season crop; it is intrusive and not adequate for low diameter trunk trees. The non-invasive methods comprise mostly Radio-frequency (RF) technologies, typically using satellite or air-born sources. This system can monitor large fields but cannot measure sap levels of a single plant (precision agriculture). This article studies the hypothesis to use of RF signals attenuation principle to detect variations in the quantity of water present in a single plant. This article presents a well-defined experience to measure water content in leaves, by means of high gains RF antennas, spectrometer, and a robotic arm. Moreover, a similar concept is studied with an off-the-shelf radar solution-for the automotive industry-to detect changes in the water presence in a single plant and leaf. The conclusions indicate a novel potential application of this technology to precision agriculture as the experiments data is directly related to the sap flow variations in plant.

Abstract
Ocean related activities are often supported by offshore equipment with particular power demands. These are usually deployed at remote locations and have limited space, thus small energy harvesting technologies, such as photovoltaic panels or wind turbines, are used to power their instruments. However, the inherent energy sources are intermittent and have lower density and predictability than an alternative source: wave energy. Here, we propose and critically assess triboelectric nanogenerators (TENGs) as a promising technology for integration into wave buoys. Three TENGs based on rolling-spheres were developed and their performance compared in both a "dry" bench testing system under rotating motions, and in a large-scale wave basin under realistic sea-states installed within a scaled navigation buoy. Both experiments show that the electrical outputs of these TENGs increase with decreasing wave periods and increasing wave amplitudes. However, the wave basin tests clearly demonstrated a significant dependency of the electrical outputs on the pitch degree of freedom and the need to take into account the full dynamics of the buoy, and not only that of TENGs, when subjected to the excitations of waves. This work opens new horizons and strategies to apply TENGs in marine applications, considering realistic hydrodynamic behaviors of floating bodies.

Abstract
[No abstract available]