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Small and medium-sized enterprises (SMEs) can benefit significantly from open innovation by gaining access to a broader range of resources and expertise using absorptive capacitive, and increasing their visibility and reputation. Nevertheless, multiple barriers impact their capacity to absorb new technologies or adapt to develop them. This paper aims to perform an analysis of relevant topics and trends in Open Innovation (OI) and Absorptive Capacity (AC) in SMEs based on a bibliometric review identifying relevant authors and countries, and highlighting significant research themes and trends. The defined string query is submitted to the Web of Science database, and the bibliometric analysis using VOSviewer software. The results indicate that the number of scientific publications has consistently increased during the past decade, indicating a growing interest of the scientific community, reflecting the industry interest and possibly adoption of OI, considering Absorptive. This bibliometric analysis can provide insights on the most relevant regions the research areas are under intensive development.

Research in ubiquitous networked music systems has unveiled the potential of behavioural-driven interaction interfaces as an effective model to cope with network communication delays in remote musical performances. Most of the techniques developed under these premises are based on digital music interfaces implemented on laptop computers or tablet devices, where a certain degree of gestural control comes as an added dimension. The purpose of this paper is to present an implementation of such type of interfaces in the form of a physical tangible musical instrument, contemplating multiple expressive possibilities. This is viable at the current stage of technological development thanks to leveraging 3D printing and laser cutting technologies for effective prototyping and testing of such a device. The paper seeks to demonstrate that this approach opens a wide range of possibilities for creating musical instruments with versatility and expressiveness beyond what is usually accomplished in traditional instruments. This implementation, entitled “Radial String Chimes,” is presented with its advantages, the challenges it faces, and the methods used to create it. Finally, the paper will offer suggestions for further developing such an instrument to unlock its potential.

Macao SAR, China is one of the more densely-populated territories in the world, and as such necessarily struggles with Soundscape quality. Nonetheless, the territory has already been identified as a unique location for to function as a Soundscape living lab (Cordeiro et al., 2014), since it has a very small manageable area that includes many types of geographical varieties, from extremely high density urban areas to natural environments with dense vegetation highland or varied water front typologies. In addition, Macao has extremely wide multicultural population with a broad range of subjects that have diverse cultural perceptions and thresholds in regards to sonic cognition. The potential impact of this diversity has already been noticed in both tourism (To & Chung, 2019) and research (Chung et al., 2016). The concept of Soundscape itself is garnering increased awareness as a viable alternative to assess the quality of the sonic environment, of use to policy management and legislation, shown not only by the increasing numbers of scientific articles on the subject (Moscoso et al., 2018), but also by recent international standardisation efforts in measuring it (ISO,2018). In this talk we shall give a preliminary description and illustration of the Soundscape in a territory that is rich in diversity and has huge potential for citizen participation. This includes approaches like noise mapping, sound mapping, Soundwalks, grounded theory efforts for detailed descriptions of the environment and use of alternative objective metrics. We will describe how to use the richness of this gathered data in developing artificial-intelligence algorithms to autonomously assess and predict the evaluation of a given Soundscape based on recordings alone. This goal will alleviate the intense human effort in subjective assessment, and may prove to be an effective and substantial diagnostics tool in planning the soundscape for prospective built environments, functioning not only as an analysis and diagnostics tool, but as a design strategy for a sustainable sonic future.

One of the biggest challenges that we have encountered, when trying to encourage digital games in schools, is trying to explain what its benefits are in teaching and learning environments. In this pilot experimental study we explore how multimodal audio and visual games can be used in learning environments for children, specifically by fostering creative behaviors through User-Centered design approaches. To achieve this objective, a framework is being developed with multimodal experiences based on flexible design patterns that exploits basic visual and audio elements, allowing children from three to six years of age to play and learn through fun and subsequently trigger creative behaviors. These studies are making use of tangible objects, digital games and mobile platforms. We are making use of commercial digital games to understand and discuss the affordances of these games in an educational environment and how they support creativity in learning. (Fig.1)

Sounding Architecture, is the first collaborative teaching development between Department of Architecture and Department of Music at the University of Hong Kong (HKU), introduced in Fall 2016. In this paper we present critical observations about the studio after a final public presentation of all projects. The Review was conducted with demonstrations by groups of students supervised by different Lecturer, in each case focusing on a different strategy to create a connection between Sound, Music, Acoustics, Space and Architectural Design. There was an assumption that the core working process would have to include the design of a new musical instrument, which in some cases became the final deliverable of the Studio and in other cases a step in a process that leads to a different outcome (such as an architectural Design, a performance or social experiment). One other relevant aspect was that Digital technology was used in the design and fabrication of the physical instruments' prototypes, but in very few cases, it was used in the actual generation or enhancement of sound, with the instruments relying almost exclusively in acoustic and mechanical sound.