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Articles de revues sur le sujet "Arrow (Symbol)"
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Latkin, Carl A., Lauren Dayton, Grace Yi et Ariel Balaban. « The (Mis)Understanding of the Symbol Associated with Recycling on Plastic Containers in the US : A Brief Report ». Sustainability 14, no 15 (5 août 2022) : 9636. http://dx.doi.org/10.3390/su14159636.
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Plastic containers are a major source of pollution and contribute to greenhouse gases. Many plastic containers are embossed with a small symbol of three arrows forming a triangle and a number in the middle of the triangle. As part of a US online study, we assessed the meaning of this symbol. Of the 808 respondents presented with a visual image of the three-arrow symbol, 81.3% reported (incorrectly) that the symbol indicated that the item could definitely be recycled and 16.3% reported that it could probably be recycled. The findings suggest that a large proportion of individuals have an inaccurate understanding of the symbol on plastics purported to indicate recycling. Plastic manufacturers should revise labels about recycling and not disseminate potentially deceptive information about the ability to recycle their products, and more effective methods such as extended producer responsibility legislation are needed to reduce plastic pollution.
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Hayton, William L. « Symbol-and-Arrow Diagrams in Teaching Pharmacokinetics ». American Journal of Pharmaceutical Education 54, no 3 (1990) : 290–92. http://dx.doi.org/10.1016/s0002-9459(24)08403-1.
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Khorasani, Manouchehr Moshtagh. « El arma sagrada : el combate con arco y flecha en Irán ». Revista de Artes Marciales Asiáticas 5, no 1 (13 juillet 2012) : 53. http://dx.doi.org/10.18002/rama.v5i1.124.
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<p class="AMresumen">The following article presents the development of the bow and arrow, and its important role in the history of Iran. The bow always played an important role not only on the battlefield, but also in hunting. It was also considered as a sacred weapon and additionally a royal symbol. Bow and arrow were considered as a superior weapon in comparison with other types of weapons because one could fight with them at a safer distance as one offered by swords, maces and axes. The first part of the article presents a short history of the bow in Iran. Based on historical Persian manuscripts, the next part explains the structure of the composite bow and the materials used for making it. The third part describes some types of bows based on the material, place of production, the usage, and bow type based on the length of the bow and the arrows. The following part talks about different types of arrows based on morphology of arrowheads, the type of plume/feather, the material of the shaft, the material of the arrowhead, the length of arrows, the target of arrows, the place of production of arrowheads and terms for describing its different features of an arrowhead. Then, the article talks about different types of thumb rings, bowstrings, quivers and bow cases and arrow guides for shooting short arrows. The next part discusses different principles of archery as explained in Persian manuscripts. Finally the article describes different archery targets.</p>
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Altun, Oğuz, et Orhan Nooruldeen. « SKETRACK : Stroke-Based Recognition of Online Hand-Drawn Sketches of Arrow-Connected Diagrams and Digital Logic Circuit Diagrams ». Scientific Programming 2019 (26 novembre 2019) : 1–17. http://dx.doi.org/10.1155/2019/6501264.
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Digitalization of handwritten documents has created a greater need for accurate online recognition of hand-drawn sketches. However, the online recognition of hand-drawn diagrams is an enduring challenge in human-computer interaction due to the complexity in extracting and recognizing the visual objects reliably from a continuous stroke stream. This paper focuses on the design and development of a new, efficient stroke-based online hand-drawn sketch recognition scheme named SKETRACK for hand-drawn arrow diagrams and digital logic circuit diagrams. The fundamental parts of this model are text separation, symbol segmentation, feature extraction, classification, and structural analysis. The proposed scheme utilizes the concepts of normalization and segmentation to isolate the text from the sketches. Then, the features are extracted to model different structural variations of the strokes that are categorized into the arrows/lines and the symbols for effective processing. The strokes are clustered using the spectral clustering algorithm based on p-distance and Euclidean distance to compute the similarity between the features and minimize the feature dimensionality by grouping similar features. Then, the symbol recognition is performed using modified support vector machine (MSVM) classifier in which a hybrid kernel function with a lion optimized tuning parameter of SVM is utilized. Structural analysis is performed with lion-based task optimization for recognizing the symbol candidates to form the final diagram representations. This proposed recognition model is suitable for simpler structures such as flowcharts, finite automata, and the logic circuit diagrams. Through the experiments, the performance of the proposed SKETRACK scheme is evaluated on three domains of databases and the results are compared with the state-of-the-art methods to validate its superior efficiency.
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Bula, Andrew. « Dimensions of Intertextuality in Achebe’s Things Fall Apart and Arrow of God ». Journal of Critical Studies in Language and Literature 3, no 3 (1 mai 2022) : 15–23. http://dx.doi.org/10.46809/jcsll.v3i3.149.
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The readings on Chinua Achebe’s Things Fall Apart and Arrow of God are, for the most part, steeped in Igbo culture and cosmology as well as the deployment of language in the texts. None, consequently, has taken up the question of examining both texts by means of Julia Kristeva’s theory of intertextuality. This research report occupies that critical void. Concretely, it utilizes select dimensions of Kristeva’s theory of intertextuality in investigating Things Fall Apart and Arrow of God. This is in order to understand what the characters are saying and what the narrator is saying, the role played by culture in these discourses, and whether the theory’s select dimensions apply to Achebe’s Things Fall Apart and Arrow of God. Ultimately, it is uncovered that indeed intertextuality is applicable to and exists in Things Fall Apart and Arrow of God by means of the various dimensions of the theory. By Kristeva’s account, these dimensions are the intersecting of citation and narration within the novel, dyadic figuration and arbitrary termination, the relationship between the literary text and the text of culture, the figure of double destinations, the horizontal dimension of the function of the symbol, the non-conformity between a named object and its name within the Symbol as Ideologeme, and the relationship between individual texts (books).
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Caiman, Kenneth. « The arrow or the Caduceus as the symbol of the doctor ». Lancet 362, no 9377 (juillet 2003) : 84. http://dx.doi.org/10.1016/s0140-6736(03)13833-0.
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Monk, John. « Arrows Can Be Dangerous ». tripleC : Communication, Capitalism & ; Critique. Open Access Journal for a Global Sustainable Information Society 11, no 1 (12 décembre 2012) : 67–92. http://dx.doi.org/10.31269/triplec.v11i1.337.
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Arrow signs find use in professional fields are a part of everyday practices exercised in public places. Both the geographical and cultural settings affect a signs utility; the focus here is on arrows in England and its North American colonies and in particular English uses of the broad arrowhead as a symbol for regal property and as a mark on convict's clothes. A semiotic analysis using Jakobson's functional categories shows that practices that incorporate signs are not unde the control of the sign maker and the geographical and historical context can change a signs use and can occasionally render an acceptable sign into one that provokes anger and bring ignominy. Such negative effects draw attention to the ethical dimension of signs.
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van der Meer, Elke, Frank Krüger et Antje Nuthmann. « The Influence of Temporal Order Information in General Event Knowledge on Language Comprehension ». Zeitschrift für Psychologie / Journal of Psychology 213, no 3 (juillet 2005) : 142–51. http://dx.doi.org/10.1026/0044-3409.213.3.142.
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Abstract. The coding of chronological order of real-life events, that is, “time’s arrow” in general event knowledge and its access in language comprehension was investigated with two relatedness judgment tasks. The temporal orientation (chronological or reverse) and the stimulus onset asynchrony (SOA; 200/250 ms or 1,000 ms) between preinformation and target were manipulated. The first experiment examined highly familiar sequences of events (e.g., lighting-burning-extinguishing) with the same strength of temporal relatedness for preceding and succeeding events. The second experiment investigated individual events. The results show that time’s arrow is not restricted to sequences of events, but is also embedded in the mental representation of individual events. The preferred temporal orientation in favor of future time is not only coded by a higher association strength between mental event representations, but also by expectancy based selection processes. The results support Barsalou’s model of perceptual symbol systems ( 1999 ).
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Kim, Si Yeun. « A Study on Effective Visual Communication of Abstract Concepts -Focus on Arrow Symbol in Brand Identity- ». Treatise on The Plastic Media 22, no 2 (31 mai 2019) : 39–47. http://dx.doi.org/10.35280/kotpm.2019.22.2.5.
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Muenchinger, Kiersten. « Our Contrary Normal Practice and Normative Attitudes Around Plastics Recycling ». Design and non-Normativity. In the Era of Paradigm Shifts, no 22 (1 janvier 2021) : 39–41. http://dx.doi.org/10.37199/f40002203.
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In time for the 50th Anniversary of Earth Day, Frontline, an acclaimed investigative news show on American Public Television, is airing “Plastic Wars,” a report on the fght over the future of plastics. “Plastic Wars” and its related print articles expose that plastics manufacturers have promoted the recycling industry as the clever, benefcial, circular end to plastics waste, all the while knowing that plastics recycling systems have never been robust enough to address plastics waste. It tells that soft drink companies like Pepsico have repeatedly fallen short of stated goals for recycled plastic content in their bottles. It clarifes that end-consumers should not expect that every plastic part embossed with a chasing arrow symbol will be recycled.
Thèses sur le sujet "Arrow (Symbol)"
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O'Connell, Sarah Christine. « Increasing the recognition distance of arrow symbol highway pavement signs ». Ohio : Ohio University, 1998. http://www.ohiolink.edu/etd/view.cgi?ohiou1176405172.
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Garcia, Graziela Gallo. « Os significados da seta : análise do símbolo gráfico em sistemas de sinalização, de esquematização e de identidades visuais ». Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-17042013-110157/.
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Esta dissertação de mestrado analisa a seta como símbolo gráfico universal da comunicação visual, reconhecido por diferentes povos em diversas épocas e culturas. A pesquisa apresenta a seta como transmissora de informações essenciais por meio de seus vários significados e funções facilitando as interações sociais no mundo contemporâneo, diminuindo as dificuldades geradas por especificidades linguísticas e auxiliando na possibilidade de uma rápida interpretação das mensagens comunicadas, ainda que dentro de limites culturais. O estudo mostra que este símbolo gráfico é utilizado desde os tempos mais remotos, nas pinturas rupestres, até os dias atuais, com usos distintos em vários campos do conhecimento. O objetivo da análise é identificar os significados mais notáveis do símbolo gráfico seta, além de sua função direcional básica e como eles se desenvolveram em três modalidades de aplicação: (1) a seta nos sistemas de sinalização, orientando e dirigindo o fluxo do tráfego humano e suas variantes nos pictogramas e na sinalização viária, algumas vezes com significados distintos como o de \"encontro\", \"indicação\" ou \"localização\"; (2) a seta nos sistemas de esquematização em várias áreas do conhecimento, da vida cotidiana às representações científicas, empregada com diferentes funções, dependendo da intenção da mensagem a ser transmitida, entre elas: \"ação\", \"causa-efeito\", \"foco\", \"geração\", \"identificação\", \"intensidade\", \"limite\", \"relação\", \"sequência\", \"tempo\", \"transferência\" e \"transformação\"; (3) a seta nos sistemas de identidades visuais, representando empresas ou produtos visualmente e de forma ordenada, com novos significados vindos de associações semânticas relacionadas às situações específicas de cada marca e aos setores de mercado aos quais elas pertencem, como por exemplo: \"cobertura\", \"satisfação\", \"simpatia\", \"saúde\", \"crescimento\", \"desenvolvimento\", \"rapidez\", \"centralização\", \"prazer\" e \"suavidade\". É uma pesquisa qualitativa que pretende, com a análise e a interpretação das variáveis dos fenômenos particulares a cada campo de estudo, entender de forma ampla, partes das dimensões semântica e pragmática do símbolo gráfico em questão. Este estudo aprofundado pretende contribuir para o melhor entendimento e utilização da seta por comunicadores e designers, com maior conhecimento e propriedade, permitindo sua aplicação mais clara e efetiva nos sistemas de sinalização de grandes espaços, de esquematização da informação visual e de identidades visuais.This thesis analyzes the arrow as a universal graphic symbol in visual communication, one recognized by different people in different times and cultures. The research presents the arrow as a transmitter of critical information through its various meanings and functions, facilitating social interactions in the contemporary world, lessening the difficulties caused by linguistic specificities and assisting in the possibility of a rapid interpretation, though still within cultural limits, of the messages communicated. The study shows that this graphic symbol has been used since ancient times, from cave paintings to the present day, with different uses in various fields of knowledge. The goal of the analysis is to identify the most notable meanings of the arrow graphic symbol, besides its basic directional function, and how these meanings developed into three types of applications: (1) the arrow in signage systems, guiding and directing the flow of human traffic and its variants in pictograms and road signs, sometimes with different meanings like \"meeting\", \"indication\" or \"location\"; (2) the arrow in diagrams in various areas of knowledge, from everyday life to scientific representations, used with different functions, depending on the intent of the message to be transmitted, including: \"action\", \"cause and effect\", \"focus\", \"generation\", \"identification\", \"intensity\", \"boundary\", \"relationship\", \"sequence\", \"time\", \"transfer\" and \"transformation\"; (3) the arrow in corporate identity systems, representing companies or products visually and in an orderly fashion, with new meanings coming from semantic associations related to the specific circumstances of each brand and market sectors to which they belong, such as: \"covering\", \"satisfaction\", \"sympathy\", \"health\", \"growth\", \"development\", \"speed\", \"centralization\", \"pleasure\", and \"softness\". This qualitative research seeks, with analysis and interpretation of the variables of phenomena specific to each field of study, to broadly understand parts of the semantic and pragmatic dimensions of the graphic symbol in question. This is in-depth study which aims to contribute to a better understanding and use of the arrow by communicators and designers, with greater knowledge and propriety, allowing for its clearer and more effective application in signage systems in large spaces, diagrams of visual information, and corporate identities.
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Kurata, Yohei. « Arrow Symbols : Theory for Interpretation ». Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/KurataY2007.pdf.
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Charles, Matthew John. « The performance of SCT128A ASICs when reading out silicon sensors and a study of Bâ°[subscript s below the zero] [right pointing arrow] D[âºorâ»][subscript s below the plus or minus symbol][pi][â»orâº] at LHCb ». Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289366.
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Du, Plessis Lynn. « The presentation and interpretation of arrow symbolism in biology diagrams at secondary-level ». Thesis, 2006. http://hdl.handle.net/10413/5530.
Texte intégralRésumé :
The literature contains conflicting ideas about the effectiveness of diagrams, and their constituent
symbolism as teaching and learning tools. In addition, only limited research has been specifically
conducted on the presentation and interpretation of arrow symbolism used in biology diagrams, let
alone on the nature, source and remediation of student difficulties caused by arrows. On the basis
of this limited research and 30 years of experience of teaching biology at secondary-level, the
author suspected that students might have difficulties interpreting arrow symbolism in diagrams
used as explanatory tools and decided to thoroughly investigate this issue. The hypothesis,
'Secondary-level students have difficulty with the use of arrow symbolism in biology diagrams' was
formulated and the following broad research questions defined to address the hypothesis:
1. How much of a problem is arrow symbolism in diagrams?
2. How effectively is arrow symbolism used in diagrams to promote the communication of intended
ideas?
3. To what extent does the design of arrow symbolism in diagrams influence students '
interpretation and difficulties?
4. How can the emerging empirical data and ideas from literature be combined to illustrate the
process of interpretation of arrow symbolism?
5. What measures can be suggested for improving the presentation and interpretation of arrow
symbolism in biology diagrams at secondary-level?
To address Research question 1, a content analysis of all arrow symbolism in seven popular
secondary-level biology textbooks was undertaken. This revealed a wide diversity of arrow styles,
spatial organisations, purposes and meanings that could be confusing to students. These results
suggested the need for an evaluation of the effectiveness of arrow symbolism (Research question
2). As there was no definitive set of guidelines available for specifically evaluating arrows, general
guidelines from the literature on diagrams were used to develop a set of 10 criteria, to evaluate the
syntactic, semantic and pragmatic dimensions of arrow symbolism, which were validated by
selected educators, students and a graphic design expert. Application of the criteria (which
constituted expert opinion) to the arrow symbolism used in 614 realistic, stylised and abstract
diagram types, revealed a relatively high incidence (30%) of inappropriately presented arrow
designs that could mislead students. To establish whether this problem could be the cause of
student difficulties, and to thereby address Research question 3, a stylised and an abstract diagram
were selected and evaluated according to the criteria. The results of the evaluation were compared
to the responses given by 174 students to a range of written and interview probes and student modified
diagrams. In this way, student performance was correlated with expert opinion. The
results confirmed that students experience a wide range of difficulties (26 categories) when
interpreting arrow symbolism, with some (12 categories) being attributable to inappropriately
presented arrow symbolism and others (14 categories) to student-related processing skills and
strategies at both surface- and deeper-levels of reasoning. To address question 4, the emerging
empirical data from the evaluation and student studies was combined with a wide range of
literature, to inform the development of a 3-level, non-tiered model of the process of interpretation
of arrow symbolism in diagrams. As this model emphasised the importance of both arrow
presentation in diagrams and arrow interpretation by students, it could be used as an effective
explanatory tool as well as a predictive tool to identify sources of difficulty with the use of arrow
symbolism. This model was, in turn, used to inform the compilation of a range of guidelines for
improving the presentation and interpretation of arrow symbolism, and so target Research question
5. These, and other guidelines grounded in the data and relevant literature, were suggested for all
role players, including students, educators, textbook writers, graphic artists and researchers, to use
as remedial tools. Future research should focus on the implementation of these guidelines and
studying their effectiveness for improving the presentation and interpretation of diagrams with
arrow and other types of symbolism.Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.
Livres sur le sujet "Arrow (Symbol)"
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Brack, Miriam. That way to the left. Zurich : ZHdK Visuelle Kommunikation, 2017.
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Bourdeau-Picard, Michelle. Un symbole de taille : La ceinture fléchée dans l'art canadien = An alluring symbol : the arrow sash in Canadian art. Joliette, Québec : Musée d'art de Joliette, 2004.
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The arrow and the point : Russell and Wittgenstein's Tractatus. Frankfurt : Ontos, 2008.
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LWW. Nurse Review Update : Clinical Update System : White arrow symbol. Lippincott Williams and Wilkins, 2005.
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School Volunteers School Volunteers Share. Just a Girl Who Loves to Volunteer : Volunteer Quotes Appreciation Journal, Notebook, Diary, Pink Heart Symbol and Arrow Doodle. Independently Published, 2020.
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Coward, John M. Making Images on the Indian Frontier. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040269.003.0005.
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This chapter explores some of the most important Indian illustrations of Theodore Davis, one of the first illustrators to travel west following the Civil War. His pictures of a Kansas stage attack and arrow-pierced skeletons of soldiers helped popularize images of Indian violence as an important—and sensational—visual trope in an era of Western expansion. The stage attack came to represent something more than a few moments of terror on the plains of western Kansas; it became a vivid and useful symbol of the taming of the West. Meanwhile, Davis's illustrations of arrow-pierced skeletons on the plains became immediately infamous and provided powerful evidence that the Indians deserved to be punished.
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Walker, Kate. Stephen Amell Adult Coloring Book : Oliver Queen from Arrow and Professional Wrestler, Sex Symbol and Beautiful Hot Model Inspired Adult Coloring Book. Independently Published, 2018.
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L'arc Dans La Bible : Histoire Et Symbolique (Orients Semitiques) (French Edition). Librairie Orientaliste Paul, 2009.
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Bonino, Guido. Arrow and the Point : Russell and Wittgensteines Tractatus. De Gruyter, Inc., 2008.
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Bonino, Guido. Arrow and the Point : Russell and Wittgenstein's Tractatus. De Gruyter, Inc., 2008.
Trouver le texte intégralChapitres de livres sur le sujet "Arrow (Symbol)"
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Kurata, Yohei, et Max J. Egenhofer. « Topological Relations of Arrow Symbols in Complex Diagrams ». Dans Diagrammatic Representation and Inference, 112–26. Berlin, Heidelberg : Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11783183_15.
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Brandolini, Cristiano. « Longobard Warriors in the Seprio Judicaria ». Dans Martial Culture and Historical Martial Arts in Europe and Asia, 73–92. Singapore : Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2037-0_3.
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AbstractTheSeprio is an ancient territory with a history of millennia in which we find five important Longobardcenters: Sibrium(Castelseprio), Pagus Artiaco (Arsago Seprio), Castrum Novate (Castelnovate), and, further north, Stabulum (presently Stabio in the Swiss Canton of Ticino) and Campiliorum (now Campione d’Italia, an Italian exclave in Switzerland). The elements present in the grave goods of the Seprio have allowed us to understand that the Longobardwarrior held a shield, brandished a spatha (sword), and carried a scramasax (short weapon to a single cut), a spear, and in some cases even an axor bow and arrows, while the most important warriors were equipped with mailor lamellar armorand helmet. From the type of accoutrements (harnesses, belt elements, personal objects, pottery, golden crosses), it is possible to trace the owner’s position in the hierarchy of nobility, in the same way, that the degree of sophistication of the weapons and the shield indicated the social position of the warrior who wore them. The spatha and the scramasax were status symbols of the Longobardwarrior; they brought to the fore and underlined his status as a nobleman and free man. The Seprio has always played a leading role in the geopolitical events that have affected ancient Insubria in all its historical phases. In the last fifty years, many relics of the Arimannia of the Seprio have been unearthed and studied, but much still lies buried which scientific research is only slowly bringing to the surface.
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Mancosu, Paolo, Sergio Galvan et Richard Zach. « The sequent calculus ». Dans An Introduction to Proof Theory, 167–201. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895936.003.0005.
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In addition to natural deduction, Gentzen developed a different calculus, called the sequent calculus. A sequent is a configuration presenting an arrow symbol (⇒) flanked on the left and on the right by finite sequences of formulas, possibly empty. The sequent calculus is developed, with examples of how to prove statements in the calculus, and a few results about transforming proofs through variable replacements are proved. Proofs in the intuitionistic sequent calculus can be translated into natural deductions, and vice versa (this system is obtained by restricting sequents to those that have at most one formula on the right hand side of the arrow).
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Gell, Alfred. « The Origination of the Index ». Dans Art And Agency, 66–72. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198280132.003.0005.
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Abstract The fact that I have chosen to employ a single graphic symbol, an arrow, could be taken to imply that ‘agency’ has some quintessential, generic form, of which the various types of agency so far mentioned are species. This inference would be incorrect; the agency arrow implies no particular kind of agency, only the polarity of agent/patient relations. I set no limit , whatsoever to the type of ‘action’ involved. Sometimes this action is psychological; for example, the ‘action’ of an index in impressing a spectator with its technical excellence, or arousing the spectator erotically; while at other times the action may be physical, as happens, for instance, if the index is a holy icon which cures the rheumatism of the one who kisses it, rather than merely looks at it.
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Chiswell, Ian, et Wilfrid Hodges. « Prelude ». Dans Mathematical Logic, 1–4. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780198571001.003.0001.
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Abstract The notation ‘A B’ is shorthand for ‘If A then B’, or ‘A implies B’, or sometimes ‘the implication from A to B’, as best suits the context. Do not confuse it with the notation “From Chapter 3 onwards, the symbol” is not shorthand; it is an expression of our formal languages. The safest way of reading it is probably just ‘arrow’ (though in Chapters 2 and 3 we will discuss its translation into English). The notation ‘N’ can be read as ‘the set of natural numbers’ or as ‘the natural number structure’, whichever makes better sense in context. (See Example 5.5.1 for the natural number structure.
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Kaye, Phillip, Raymond Laflamme et Michele Mosca. « Linear Algebra and the Dirac Notation ». Dans An Introduction to Quantum Computing. Oxford University Press, 2006. http://dx.doi.org/10.1093/oso/9780198570004.003.0005.
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We assume the reader has a strong background in elementary linear algebra. In this section we familiarize the reader with the algebraic notation used in quantum mechanics, remind the reader of some basic facts about complex vector spaces, and introduce some notions that might not have been covered in an elementary linear algebra course. The linear algebra notation used in quantum computing will likely be familiar to the student of physics, but may be alien to a student of mathematics or computer science. It is the Dirac notation, which was invented by Paul Dirac and which is used often in quantum mechanics. In mathematics and physics textbooks, vectors are often distinguished from scalars by writing an arrow over the identifying symbol: e.g a⃗. Sometimes boldface is used for this purpose: e.g. a. In the Dirac notation, the symbol identifying a vector is written inside a ‘ket’, and looks like |a⟩. We denote the dual vector for a (defined later) with a ‘bra’, written as ⟨a|. Then inner products will be written as ‘bra-kets’ (e.g. ⟨a|b⟩). We now carefully review the definitions of the main algebraic objects of interest, using the Dirac notation. The vector spaces we consider will be over the complex numbers, and are finite-dimensional, which significantly simplifies the mathematics we need. Such vector spaces are members of a class of vector spaces called Hilbert spaces. Nothing substantial is gained at this point by defining rigorously what a Hilbert space is, but virtually all the quantum computing literature refers to a finite-dimensional complex vector space by the name ‘Hilbert space’, and so we will follow this convention. We will use H to denote such a space. Since H is finite-dimensional, we can choose a basis and alternatively represent vectors (kets) in this basis as finite column vectors, and represent operators with finite matrices. As you see in Section 3, the Hilbert spaces of interest for quantum computing will typically have dimension 2n, for some positive integer n. This is because, as with classical information, we will construct larger state spaces by concatenating a string of smaller systems, usually of size two.
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White, Robert E. « The Nutrition of Grapevines ». Dans Understanding Vineyard Soils. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780199342068.003.0006.
Texte intégralRésumé :
Grapevines must have 16 of the 118 known elements to grow normally, flower, and produce fruit. These essential elements, listed in table 3.1, are also called nutrients and as such are divided into • Macronutrients, which are required in relatively large concentrations • Micronutrients, which are required in smaller concentrations Box 3.1 discusses the different ways of calculating nutrient concentrations in soil, plants, and liquid. Vines draw most of their nutrients from the soil, and so table 3.1 also shows the common ionic form of each element in soil. Ions, the charged forms of elements, are introduced in box 2.4, chapter 2. For example, carbonic acid (H2CO3), which is a compound of carbon (C), hydrogen (H), and oxygen (O), dissociates in water into the ions H+ and HCO3−. This is a chemical reaction that can be written in shorthand form as . . . H2CO3 ↔ H+ + HCO3− . . . The double arrow shows that the reaction can go either forward (to the right) or backward (to the left), depending on the concentrations of H+ and HCO3− relative Concentration (symbol C)a is the amount of a substance per unit volume or unit weight of soil, plant material, or liquid. For example, the concentration C of the element nitrogen (N) can be expressed as micrograms (μg) of N per gram of soilb, noting that . . . 1 μg N/g = 1 mg N/kg = 1 part per million (ppm N) (B3.1.1) . . . An amount is the product of concentration and weight. For example, the total amount of N of concentration C (measured in μg/g) in a soil sample of 100g is . . . 100C μg or 0.1C mg (B3.1.2) . . . Because all soil and plant materials contain some water, analyses are best expressed in terms of oven-dry (o.d.) weights. The o.d. weight of a soil sample is obtained by drying it to a constant weight at 105ºC; for plant material the drying temperature is 70ºC. The amount of a nutrient is often expressed per hectare (ha) of vineyard.
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Flarend, Alice, et Bob Hilborn. « Traditional Bits in New Clothing ». Dans Quantum Computing : From Alice to Bob, 17–24. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192857972.003.0003.
Texte intégralRésumé :
After a quick review of Chapter 2’s bits and gates, Bob and Alice introduce Cardy to several concepts and symbolic representations that will be of crucial importance in understanding quantum computing: state vectors, pictorial representations of state vectors, and simple mathematical forms that help us manipulate and reason about state vectors. State vectors may be represented by arrows in a state space diagram. States may also be represented more abstractly using Dirac notation symbols |⟩. Logic gates, critically important for carrying out computational work, can be represented by mathematical objects called matrices. States are represented by column vectors. Everything you need to know about matrices is presented over just a few pages.
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Cheng, Beibei, R. Joe Stanley, Soumya De, Sameer Antani et George R. Thoma. « Automatic Detection of Arrow Annotation Overlays in Biomedical Images ». Dans Healthcare Information Technology Innovation and Sustainability, 219–36. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2797-0.ch014.
Texte intégralRésumé :
Images in biomedical articles are often referenced for clinical decision support, educational purposes, and medical research. Authors-marked annotations such as text labels and symbols overlaid on these images are used to highlight regions of interest which are then referenced in the caption text or figure citations in the articles. Detecting and recognizing such symbols is valuable for improving biomedical information retrieval. In this research, image processing and computational intelligence methods are integrated for object segmentation and discrimination and applied to the problem of detecting arrows on these images. Evolving Artificial Neural Networks (EANNs) and Evolving Artificial Neural Network Ensembles (EANNEs) computational intelligence-based algorithms are developed to recognize overlays, specifically arrows, in medical images. For these discrimination techniques, EANNs use particle swarm optimization and genetic algorithm for artificial neural network (ANN) training, and EANNEs utilize the number of ANNs generated in an ensemble and negative correlation learning for neural network training based on averaging and Linear Vector Quantization (LVQ) winner-take-all approaches. Experiments performed on medical images from the imageCLEFmed’08 data set, yielded area under the receiver operating characteristic curve and precision/recall results as high as 0.988 and 0.928/0.973, respectively, using the EANNEs method with the winner-take-all approach.
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Oriakhi, Christopher O. « Chemical Equations ». Dans Chemistry in Quantitative Language. Oxford University Press, 2009. http://dx.doi.org/10.1093/oso/9780195367997.003.0012.
Texte intégralRésumé :
A chemical equation is a shorthand way of describing a chemical reaction. It uses symbols of elements and formulas of compounds in place of words to describe a chemical change or reaction. 1. The formulas and symbols of reactants are written on the left side of the equation. 2. The formulas and symbols of products are written on the right side of the equation. 3. A plus sign (+) is placed between different reactants and different products. 4. The reactants are separated from the products by an arrow (→) pointing in the direction of the reaction. For a reversible reaction, double arrow (⇄) is used. 5. The physical states of substances may be indicated by the symbols (s) for solid, (l) for liquid, (aq) for aqueous solution, and (g) for gases. 6. The equation is then balanced by inserting appropriate coefficients for the products and reactants. For the word equation Sulfur trioxide+Water → Sulfuric acid we can substitute the formulas for reactants and products, following the above rules, and obtain a chemical equation for the reaction as: SO3(g)+H2O(l) −→ H2SO4(aq) A chemical equation is balanced when it has the same number of atoms of each element on either side of the equation. Thus, a balanced equation obeys the law of conservation of mass. That is, atoms are not ‘created’ or ‘destroyed’ in writing a chemical equation. 1. Formulate and write a word equation if necessary from experiment or problem. 2. Write the unbalanced equation using the rules for writing chemical formulas. 3. Balance the equation to make sure the law of conservation of mass is observed. (a) Inspect both sides of the equation to identify atoms that need to be balanced. (b) Balance one element at a time by placing a suitable coefficient to the left of the formula containing the element. Note that a coefficient placed in front of the formula affects all the atoms in the formula. For example, 2 H2O implies 2 molecules of water containing 4 atoms of hydrogen and 2 atoms of oxygen. (c) Never attempt to balance an equation by changing subscripts because this will change the formulas of the compounds.
Actes de conférences sur le sujet "Arrow (Symbol)"
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Xiangyang, Zhang, Wu Wenyu, He Ziwei et Li Yingjing. « Evaluation of Indicative Symbol Coding for Fighter Cockpit HUD Based on Different Environmental Background ». Dans Human Interaction and Emerging Technologies (IHIET-AI 2022) Artificial Intelligence and Future Applications. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100903.
Texte intégralRésumé :
Head-up display (HUD) is an important medium for fighter pilots to obtain the flight status and flight parameters of aircraft. In this paper, the cognitive human-computer interaction process of pilots when using HUD to search information is analyzed, two groups of reaction time measurement experiments are carried out, and the statistical analysis method is used to study the pilot's cognitive speed of HUD interface. The results show that the application of box arrow is better for the application of HUD interface under different environmental conditions, and the accuracy is high, but the integrity is slightly lower than that of open arrow and closed arrow. This paper provides theoretical support for the improvement of fighter HUD display interface.
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Komoriya, Kazuki, Munehiro Takimoto et Yasushi Kambayashi. « An Improved Body Operations Mitigating VR Sickness through Stepping Gaming Mat ». Dans Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002825.
Texte intégralRésumé :
Devices related to VR technology and applications using them are quite popular recently. The VR technology allows the users to perform various moving operations in the virtual space. Usually, the users use some controller devices to move in the virtual space. Since the field of vision is not linked to the physical movements of the user, only the scenes around the user changes without body movements. This mental gap between sights and bodies in the real world is said to lead VR sickness. In the previous study, we have implemented a user interface using to mitigate the VR sickness. The interface consists of a fitness device, which slides both feet to the left and right, provides moving feeling of up and down in the virtual space according to the user’s movements. In order to move forward, the users swing their arms back and forth with VR controller in both hands as if they were walking. To change direction, they swing only one arm. We have observed that this method reduces VR sickness while enhancing their immersive feeling. On the other hand, since the users’ operations are limited to gestures by legs and arms, the users cannot perform their moving operations as quick as operations using the buttons and sticks of controllers. In addition, it is hard to perform complex operations due to the nature of the fitness equipment and the acceleration of the controller held in their hands as input data. We have designed and implemented a new system that solves those problems while keeping a certain degree of immersive feeling by using a music game mat instead of fitness equipment. We have tried to extract more information from the foot movements. On the music game mat, arrows and symbols are drawn, and when the users perform stamping and apply certain pressure patterns, they can convey their wills to the system. For example, when the users want to move forward in the virtual space, they just perform stamping their right and left foot alternately on the forward-arrow symbols. The users can adjust their moving speed in the virtual space through changing the stamping frequency. If the users stamp right or left turn marks, they can change the moving directions. If the users stamp right and left initial position marks simultaneously by their feet and then release their feet after a few seconds, they can jump a certain height proportional to the stamped period. Thus, by inputting certain stamping patterns on the gaming mat, the users can perform various moving operations according to the patterns. To demonstrate the feasibility of our method, we have conducted numerical experiments on both our method and conventional methods in the same conditions. As preliminary experimental results, our method gives users more immersive feeling than conventional methods and equally excellent immersive feeling of our previous method, and to improves the response time greatly and to contribute the reduction of VR sickness as well.
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Moscoso - Montenegro, David, et Luis Serpa-Andrade. « Interactive Die as an Educational Tool for Children with Special Educational Needs ». Dans 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001886.
Texte intégralRésumé :
The die as we know is a small, throwable object with marked sides that can rest in multiple positions. Although there’s variations, the most common form of die is a cube with dots marked on each side with the aim of generating random numbers in tabletop games. This notion can be extended to the pedagogic field making use of recent technologies in connected embedded systems. This article presents the design and proof of concept of an interactive die as an educational tool for children with SEN. The die consists of a RGB LED matrix for each of its six sides so it can display any kind of low-resolution symbols like numbers, letters, arrows or multicolor patterns presented in the form of animations, additionally includes an IMU to obtain the cube orientation and user tap detection when selecting the presented option on top side, audible and haptic feedback
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Dos Reis, Jorge. « Computer mimetics in visible performance : the late work of the Portuguese experimental poet Ernesto Melo e Castro ». Dans AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004219.
Texte intégralRésumé :
Ernesto Melo e Castro, Covilhã 1932–202, is a textile engineer and Portuguese artist, trained in Bradford. He dedicated is life to textile design and to the technical direction of textile engineering companies. At the same time, he developed research in the field of Brazilian concrete poetry and Portuguese experimental poetry; being a fundamental and very innovative author that used the computer in the last phase of its journey as an artist.His work is based on an ideographic structure where the visual composition, which uses exclusively typography, is based on the principle of the ideogram, where the general graphics of the piece provide the idea for the visual piece. Melo e Castro makes use of lyrics, lines, arrows and various symbols that depart from the conventional music agenda, approaching the notation practices of the authors of American experimental music.His later works, particularly ‘Interactive Sound Poetry’ makes use of a typeface not printed but drawn. Melo e Castro elaborates a capital letter register that mimics the homogeneity of typography. The gestural character of the lyrics shows a phonetic intensity that can be inferred from the writing itself, fixed in the score, where the rapidity of the gesture and the erasure are dominant characteristics. This score is based on a computer interactive creation around phonetics and sound, making use of a computer, keyboard and synthesizer with words amplified and where the user performs poetic sequences randomly as he presses the keys. The observer is faced with a set of words: 'freedom', 'love', 'action', 'chance' and 'peace', within a circle, functioning as reading pivots, providing combinations of graphically noted words.The user makes associations and sequences, learns as a musician learns a piece of computer music, producing conceptual chains of words and the associations will not necessarily be logical or grammatical, and can be casual and therefore produce new and unexpected meanings in the sound and conceptual plane. This piece, being neither singing nor speaking, fits within a mediation between singing and speaking, a technique systematized by Arnold Schoenberg, which constitutes one of the most important criteria in the sound character of the work, starting from a study of the basic phonetics of Portuguese.To confirm this research we are now carrying out an observation around the work ‘Negative Music’ that is not developed as in the works of John Cage in an appreciation of musical silence, although this fact seems at first sight evident. It is a piece for the eyes and not for the ears. The computer game of silence represents first of all a response to the paternal authority of Melo e Castro and a metaphor against the Salazar dictatorship in Portugal. With this in mind, it is first of all a semiotic poem of conceptual visuality; In a second analysis this poem becomes a performative interpretation. In addition to its functional aspect, Melo e Castro’s notation presents a strong graphic and typographic bent, with a notorious concern to produce an object of visual characteristics where there is a balance between its constituents.