We analyse the urban mobility in the cities of Medellín and Manizales (Colombia). Each city is represented by six mobility networks, each one encoding the origin-destination trips performed by a subset of the population corresponding to a particular socio-economic status. The nodes of each network are the different urban locations whereas links account for the existence of a trip between two different areas of the city. We study the main structural properties of these mobility networks by focusing on their spatio-temporal patterns. Our goal is to relate these patterns with the partition into six socio-economic compartments of these two societies. Our results show that spatial and temporal patterns vary across these socio-economic groups. In particular, the two datasets show that as wealth increases the early-morning activity is delayed, the midday peak becomes smoother and the spatial distribution of trips becomes more localized.
In this work we analyze the architecture of real urban mobility networks from the multiplex perspective. In particular, based on empirical data about the mobility patterns in the cities of Bogotá and Medellín, each city is represented by six multiplex networks, each one representing the origin-destination trips performed by a subset of the population corresponding to a particular socioeconomic status. The nodes of each multiplex are the different urban locations whereas links represent the existence of a trip from one node (origin) to another (destination). On the other hand, the different layers of each multiplex correspond to the different existing transportation modes. By exploiting the characterization of multiplex transportation networks combining different transportation modes, we aim at characterizing the mobility patterns of each subset of the population. Our results show that the socioeconomic characteristics of the population have an extraordinary impact in the layer organization of these multiplex systems.
One of the most relevant features of musical pieces is the selection and utilization of musical elements by composers. For connecting the musical properties of a melodic line as a whole with those of its constituent elements, we propose a representation for musical intervals based on physical quantities and a statistical model based on the minimization of relative entropy. The representation contains information about the size, location in the register, and level of tonal consonance of musical intervals. The statistical model involves expected values of relevant physical quantities that can be adopted as macroscopic constraints with musical meaning. We studied the occurrences of musical intervals in 20 melodic lines from seven masterpieces of Western tonal music. We found that all melodic lines are strictly ordered in terms of the physical quantities of the representation and that the formalism is suitable for approximately reproducing the final selection of musical intervals made by the composers, as well as for describing musical features as the asymmetry in the use of ascending and descending intervals, transposition processes, and the mean dissonance of a melodic line.
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