Reduced‐order method for mathematical modeling of multiphase dc‐dc converter

A multiphase dc‐dc converter is effective for miniaturization and achieving high‐power density in a switching power supply. However, its mathematical modeling becomes complex as the phase number of the circuit increases. This study proposes a new modeling method to derive a reduced‐order method in a simple manner. The frequency characteristics of the reduced‐order model are fit to those of the original mathematical model of the multiphase dc‐dc converter. Therefore, the efficacy of the proposed method is validated.     

Human responses to high levels of carbon dioxide and air temperature

In this study, 30 subjects were exposed to different combinations of air temperature (T_a: 24, 27, and 30°C) and CO₂ level (8000, 10 000, and 12 000 ppm) in a high-humidity (RH: 85%) underground climate chamber. Subjective assessments, physiological responses, and cognitive performance were investigated. The results showed that as compared with exposure to T_a = 24°C, exposure to 30°C at all CO₂ levels caused subjects to feel uncomfortably warm and experience stronger odor intensity, while increased mental effort and greater intensity of acute health symptoms were reported. However, no significant effects of T_a on task performance or physiological responses were found. This indicated that subjects had to exert more effort to maintain their performance in an uncomfortably warm environment. Increasing CO₂ from 8000 to 12 000 ppm at all T_a caused subjects to report higher rates of headache, fatigue, agitation, and feeling depressed, although the results were statistically significant only at 24 and 27°C. The text typing performance and systolic blood pressure (SBP) decreased significantly at this exposure, whereas diastolic blood pressure (DBP) and thermal discomfort increased significantly. These effects suggest higher arousal/stress. No significant interaction effect of T_a and CO₂ concentration on human responses was identified.     

Chemical Bonding by the Chemical Orthogonal Space of Reactivity

The fashionable Parr–Pearson (PP) atoms-in-molecule/bonding (AIM/AIB) approach for determining the exchanged charge necessary for acquiring an equalized electronegativity within a chemical bond is refined and generalized here by introducing the concepts of chemical power within the chemical orthogonal space (COS) in terms of electronegativity and chemical hardness. Electronegativity and chemical hardness are conceptually orthogonal, since there are opposite tendencies in bonding, i.e., reactivity vs. stability or the HOMO-LUMO middy level vs. the HOMO-LUMO interval (gap). Thus, atoms-in-molecule/bond electronegativity and chemical hardness are provided for in orthogonal space (COS), along with a generalized analytical expression of the exchanged electrons in bonding. Moreover, the present formalism surpasses the earlier Parr–Pearson limitation to the context of hetero-bonding molecules so as to also include the important case of covalent homo-bonding. The connections of the present COS analysis with PP formalism is analytically revealed, while a numerical illustration regarding the patterning and fragmentation of chemical benchmarking bondings is also presented and fundamental open questions are critically discussed.     

变分自编码器模型综述

变分自编码器（VAE）作为深度隐空间生成模型的一种，近年来其表现性能取得了极大的成功，尤其是在图像生成方面。变分自编码器模型作为无监督式特征学习的重要工具之一，可以通过学习隐编码空间与数据生成空间的特征映射，进而在输出端重构生成输入数据。梳理了传统变分自编码器模型及其衍生变体模型的发展与研究现状，并就此做了总结和对比，最后分析了变分自编码器模型存在的问题与挑战，并就可能的发展趋势做了展望。     

The digital public humanities: giving new arguments and new ways to argue

ABSTRACT

In response to the latest “crisis” in the humanities, advocates have marched, rallied, fundraised, and—especially—argued. This essay contends that communication scholars can support the growing “case for the humanities” by analyzing argumentative strategies, and more specifically, by offering ethical argumentative strategies that avoid replicating structures of domination. In particular, we look to Mari Lee Mifsud's theorization of rhetoric as gift, which follows Henry W. Johnstone in conceptualizing argument as something other than winning over an adversary. We place Mifsud's theorization of the gift in conversation with the methods of the digital public humanities (DPH), which acknowledge and offer abundant resources for meaning-making. Through the methods of DPH, we offer a response to the humanities “crisis” that activates the humanities’ already broad constituencies by giving resources for humanistic inquiry rather than seeking to capture adversaries. Our case study is Photogrammar, a DPH project for organizing, searching, and visualizing the New Deal and World War II era photographs funded by the U.S. federal government. The project forefronts visual, nonlinear, and interactive argumentation in order to engage publics in generative humanistic inquiry. By enlisting participants and sharing expertise, Photogrammar shows how humanities advocates can deepen attachments to the humanities and build broad constituencies of collaborators and allies.     

中国钢铁产品全生命周期评价理论与实践

阐述了全生命周期评价的基本原理和内涵，分析了全生命周期评价在国内外钢铁行业的应用现状、差距及研究进展情况，论述了钢铁企业开展全生命周期评价的重要意义，研究了中国政府、行业协会、钢铁企业、咨询机构等在推进绿色设计产品评价技术规范系列标准等方面开展的相关工作。提出钢铁行业全生命周期评价推广与应用的具体建议，探讨了发展方向，对钢铁企业开展生命周期评价具有一定的指导意义。     

一种标准模型下无证书签名方案的安全性分析与改进

无证书签名具有基于身份密码体制和传统公钥密码体制的优点，可解决复杂的公钥证书管理和密钥托管问题.Wu和Jing提出了一种强不可伪造的无证书签名方案，其安全性不依赖于理想的随机预言机.针对该方案的安全性，提出了两类伪造攻击.分析结果表明，该方案无法实现强不可伪造性，并在"malicious-but-passive"的密钥生成中心攻击下也是不安全的.为了提升该方案的安全性，设计了一个改进的无证书签名方案.在标准模型中证明了改进的方案对于适应性选择消息攻击是强不可伪造的，还能抵抗恶意的密钥生成中心攻击.此外，改进的方案具有较低的计算开销和较短的私钥长度，可应用于区块链、车联网、无线体域网等领域.     

Photomontage in the Present Perfect Continuous

In its first instance as art practice among the historical avant-garde, photomontage was considered indispensable for its claim to intervene in perceptual processes, stimulating a critical mode of apprehension that would redirect the viewer away from conventions of aesthetic experience and towards a lived reception of art with pronounced relevance to the sociopolitical landscape. The effect was understood as structural, that is, activated not so much by direct political content, but by the stark and shocking effects of juxtaposition. By this measure, one challenge to contemporary photomontage is clear: in a postindustrial and postdigital visual landscape dominated by the structural fragmentation of the attention economy, the ‘simultaneity of the radically disparate’ (as Peter Bürger put it) might no longer present as heterodoxy but rather threaten to sink into invisibility. Yet with the migration off-screen of the effects of electronic media, a new urgency around moving photomontage structures into physical, public space is rising in contemporary practices. Shannon Ebner’s multi-part project A Hudson Yard (2014–15) is emblematic of the new ways in which artists are manipulating photomontage as a form of fully sensory experience that gives the medium room to play critically in both virtual and material space. By constructing subtle interruptions of naturalised commercial space, A Hudson Yard activates a détournement of instrumentalised language, using structures of juxtaposition to divert the discursive surfaces of public space away from consumption and towards what could be called a public poesis.     

“Laboratorio Q”, Seville: creative production of collective spaces before and after austerity

The creative city approach is going through a redefinition after the 2008 global financial crisis. In the specific case of South-European cities, in the context of austerity and cuts in public investment, creativity is becoming a strategy for achieving maximum social benefit and improvement of the built environment with minimum economic expenditure. This paper looks at this redefinition of creativity through the case study of Seville, in southern Spain. Through research methods that include video-recorded testimonies of the actors involved, mapping at the online platform “Laboratorio Q”, and public engagement activities, this paper explores how the civic society, professional, and public authorities have reinvented how to produce collective spaces. The paper concludes that bottom-up creative processes for producing collective spaces have become more visible since the 2008 crisis, when architects, planners, public authorities and policy-makers have been “learning” from them.