ANUDEM和TIN两种建立DEM方法的对比研究

针对流域水文和土壤侵蚀定量模拟分析需要,对基于TIN和Hutchinson方法建立的DEM表现地形形态和起伏的能力进行了对比研究。结果表明,基于TIN建立的DEM始终存在一些平顶现象,一些较小的侵蚀沟被忽略,其上提取的河流不完全连续,多处出现多重线条河流,因而不能如实地反映地形起伏的细部特征。而基于ANUDEM建立的DEM,其派生等高线的形状与输入等高线吻合较好,较好地表现了地形的形态和起伏,对地形和坡度的反映更加连续和光滑,其上提取的河流信息基本与地形图上的河流一致。

用ANUDEM建立水文地貌关系正确DEM的方法研究

针对区域尺度的径流、水土流失定量评价和植被适宜性评价等研究工作需要,利用1∶25万数字地形图和ANUDEM软件,对黄土丘陵区中等分辨率水文地貌关系正确DEM建立方法进行了研究。结果表明该方法所建立的DEM,可以正确反映地貌梁、沟结构及其与流水线网络的关系,对地形描述的能力优于TIN方法建立的DEM;利用ANUDEM和1∶25万地形图插值建立黄土丘陵区DEM的三个主要参数分别为分辨率50或100,计算迭代次数40,第二糙率系数0.8。

基于TOA的无线传感器网络自定位技术的研究

提出一种基于TOA(tim e of arrival)测距、利用节点之间的几何关系实现传感器网络中未知节点自定位的算法.该方法计算量小、算法简单且定位精度高.仿真实验证明了该方法的有效性.*

Learning with Deictic Representation

Most reinforcement learning methods operate on propositional representations of the world state. Such representations are often intractably large and generalize poorly. Using a deictic representation is believed to be a viable alternative: they promise generalization while allowing the use of existing reinforcement-learning methods. Yet, there are few experiments on learning with deictic representations reported in the literature. In this paper we explore the effectiveness of two forms of deictic representation and a naive propositional representation in a simple blocks-world domain. We find, empirically, that the deictic representations actually worsen performance. We conclude with a discussion of possible causes of these results and strategies for more effective learning in domains with objects.

Moon Palace I

Moon Palace I takes its title from the novel “Moon Palace” by Paul Auster and is loosely influenced by the following quotation from the novel: "I had jumped off the edge, and then, at the very last moment, something reached out and caught me in midair. That something is what I define as love. It is the one thing that can stop a man from falling, the one thing powerful enough to negate the laws of gravity." (Auster has authorised reproduction of the quotation) The opening pitches of moon palace I were composed while sitting at the piano exploring the sound of my tinnitus/inner ringing. From an initial rather delicate, graceful presentation of these pitches, the music intensifies rhythmically and dynamically, becoming more aggressive, emphasising the invasive quality inherent in tinnitus. A study at any one time of the pitches and rhythms present in my tinnitus can yield interesting results, the relationship between the sounds heard in each ear sometimes producing unison pitches or clashing dissonances. However, for all the fascination and intrigue, tinnitus can be relentless and disturbing, interrupting concentration and hindering sleep. Moon Palace I is an exploration of these two opposing elements. Laurina Sableviciute gave the first performance at St John's Church, Edinburgh, May 2006. It has also been performed by Tricia Dawn Williams at the Manoel Theatre, Valletta, Malta, November 2011.

Moon Palace II

Selected for performance at the New Music Weekend for Piano, Frederic Chopin Conservatoire, Paris. Premiered by Quentin Meurisse on 4th February 2012.

951912 for orchestra.

The work was premiered by the Orchestra of Scottish Opera, 30th September 2009. It was commissioned as part of the New Glasgow Harmonies Festival. Much of the composition focuses on sonority and an exploration of the lower register of certain instruments. This is informed by my profound high frequency hearing loss, which has gradually impacted on how I approach some of the standard orchestral instruments.

74 Front Street (for solo cello)

74 Front Street is intended as a musical response to the work of American sculptor Fred Sandback (1943-2003), in particular his string sculptures which are intentionally uncomplicated, minimal and strikingly beautiful. The relationship between these string works and music is rather distinct; indeed, before formally studying sculpture Sandback made a number of string instruments. He has said that his string works evolved from a desire to rid art of excessive decoration and, while there are instances of activity in 74 Front Street, much of the piece aims to reflect the simplicity of Sandback’s work.

Madlener House.

A work for violin and cello commissioned by Access Contemporary Music and the Chicago Architecture Foundation. The work explores the relationship between music and architecture, specifically that of Madlener House, Chicago, home to the Graham Foundation for the Advanced Studies in the Fine Arts. The composition premiered in October 2014 at the Graham Foundation as part of Open House Chicago 2014. It was performed by William Jason Raynovich (cello) and Maria Storm (violin).

Making Connections.

The piece is written for an ensemble of alto/bass flute, alto saxophone, viola, vibraphone/bongos and piano. Written as part of a telematic research project connecting musicians and dancers in remote sites, the work involved a collaboration with musicians at Edinburgh Napier University and dancers at Liverpool John Moores University and Nova Southeastern University, Florida.

Dialogue for bass clarinet and bassoon

This work specifically focuses on the lower register of both instruments, an area I've been led to explore as a result of my profound high frequency hearing loss. It was selected for performance following an international competitive call for scores and premiered at the 16th London New Wind Festival, 22nd November 2013. It was performed by Phil Edwards (bass clarinet) and Glyn Williams (bassoon).

NY10128

This work for chamber orchestra explores the relationship between music and architecture, specifically that of the Guggenheim Museum, NYC. It was commissioned by the Edinburgh Contemporary Music Ensemble who gave the first performance in June 2008. Subsequent performances in 2011 by the National Youth Orchestra of Scotland have been accompanied by a film I created exploring the surfaces and profiles of the Guggenheim NYC.

Miniatures for Horn Trio.

This three movement work was first performed by members of the Research Ensemble at the Peninsula Arts Contemporary Music Festival, 26 February 2010. Material from the first movement reappears in the second and third in various guises. The second movement is dedicated to the choreographer, Merce Cunningham, and the constant piano part with pedal sustained throughout is a reference to the fluidity of dance. As a contrast to this there are passages of imitation between the horn and violin, some more audible than others, which are included as an acknowledgement of the intimate relationship which exists between co-dancers on stage. The third movement is dedicated to John Cage (Cunningham's partner) and, while the piano sustains chords (reworking content from the first movement), the gestures in the other parts loosely follow the outline of sections of one of Cage's watercolours, River Rocks and Smoke no.6. Much of my music is inspired by visual art and, having admired Cage's music and writings since by student days, it seemed appropriate after dedicating the second movement to Cunningham, to turn to Cage's art work in the final part of the composition.