chapter04
世界经济概论(英文版)chapter 04 Globalization and Economic I
Globalization in Historical Perspective
• Factors influencing the process of economic globalization:
• 1. improvements in the technology of transportation and communication have reduced the costs of transporting goods, services, and factors of production and of communicating economically useful knowledge and technology.
Pros and Cons of Economic Globalization
• 2. Many Americans are not satisfied with the level of customer service that they are subjected to.
• 3. People in developing nations have their own set of reasons against globalization, e.g. environmental issues and fast food issues.
• 5. engagement in the global economy encourages governments to follow more sensible economic policies.
Pros and Cons of Economic Globalization
• Proponents: one of the best things to happen to the world
《文学理论》chapter04
文本赏析： 酒 陶渊明 结庐在人境，而无车马喧。 问君何能尔，心远地自偏。 采菊东篱下，悠然见南山。 山气日夕佳，飞鸟相与还。 此中有真意，欲辨已忘言。 饮
5、形象与理性的辨正关系（总结）
a、文学的直接的审美感性特征决定了文 学是形象的； b、文学的人类活动属性本身决定文学蕴 含某种理性； c、文学的审美意识形态属性在表现方式 层面表现为文学直接地是形象的，在深层 具有某种理性。
意 境
“有有我之境，有无我之境。‘泪眼问花花不语，
乱红飞过秋千去’、‘可堪孤馆闭春寒，杜鹃声里
斜阳暮’，有我之境也。‘采菊东篱下，悠然见南
山’、‘空波澹澹起，白鸟悠悠下’，无我之境也。 有我之境，以我观物，故物皆着我之色彩。无我之 境，以物观物，故不知何者为我，何者为物。’” ——王国维《人间词话》
2、‚表现型‛形象：指为表现作家的理想 和感情而创造的形象，这类形象是想象活动 的产物，与现实生活中的现象不同。（这类 在诗歌和散文中尤多） eg：顾城的《远和近》 你，一会儿看我/一会儿看云/我觉得/你看 我时很远/你看云时很近
‚表现型‛形象大多有细化、突出形象的某 个方面，运用多种表达手法来进行（变形） 处理的特点，主观色彩浓。 3、‚象征型‛形象：这类形象都含有大于形 象本身的含义，它常指某种思想、理念甚至 抽象的观念，象征型形象本身就是一个符号， 因为它代表着另一形象。
有三重形象，a、由意象构成，特点：情境 交融、拟容取心，将需要表达的思绪情感 寄托于物象或景象，从而创造出情中景、 景中情的审美意象； b、境生象外，即通过意象所创造的空间， 具有虚实相生的特点，由意象引发读者的 审美想象，并在想象中达到一种境界。eg： 红杏枝头春意闹；
c、韵外之致，即意境能给人带来象外之 象，也能给人言外之意，此刻，从语言中 所获得的韵味就能将读者带入一个形而上 的层面（道），由此生成的感受超越了眼 前景物、象外之象，从而进入与人生、世 界、宇宙相关的韵味与思考。 实践性技巧：创造--欣赏意境的方法，审 美视线的‚仰观俯察‛，‚远近往返‛的 游目，阴阳五行、黑白相生、虚实相生哲 学的运用。
Chapter 04多组分系统热力学.ppt
§4.1 引言
多组分系统 两种或两种以上的物质（或称为组分）所
形成的系统称为多组分系统。
多组分系统可以是均相的，也可以是多相的。
混合物 多组分均匀系统中，各组分均可选用相同的方法处
理，有相同的标准态，遵守相同的经验定律，这种系统称为 混合物。
溶液(solution), 溶剂(solvent) 和溶质(solute)
如果组成溶液的物质有不同的状态，通常将液态物质称为 溶剂，气态或固态物质称为溶质。
如果都具有相同状态，则把含量多的一种称为溶剂，含量少的称为溶质。 溶质有电解质和非电解质之分，本章主要讨论非电介质所形成的溶液。
§4.2 多组分系统的组成表示法
在均相的混合物中，任一组分B的浓度表示法主要有如下几种：
化学势在判断相变和化学变化的方向和限度方面有重要作用。
保持热力学函数的特征变量和除B以外其他组分不变，
某热力学函数随物质的量 nB 的变化率称为化学势。
多组分系统的热力学基本公式应表示为：
dU TdS pdV BdnB dH TdS Vdp BdnB
B=1
B=1
dA SdT pdV BdnB dG SdT Vdp BdnB
律研究的对象是溶质，比例常数无确切的物理意义。
Herry定律使用注意事项
(1)式中 pB 为该气体的分压。对于混合气体，在总
压不大时，Henry定律分别适用于每一种气体。
(2)溶质在气相和在溶液中的分子状态必须相同。如 HCl，在气相为 HCl 分子，在液相为H+和Cl- ，则 Henry定律不适用。
“在一定温度和平衡状态下，气体在液体里的溶解度（用摩尔
分数 x 表示）与该气体的平衡分压 p 成正比。”
Chapter04_Exercises
C. 识别、控制和跟踪需求的变化
D. 以上选项都不是
11. （
）需求工程师的任务是将所有利益相关者的信息进行分类以便允许决策者选择一
个相互一致的需求集。
A. 真
B. 假
12. 下面的（
）不是在项目启动阶段被提出的“与环境无关”的问题。
A. 成功的解决方案将带来什么样的经济收益？
B. 谁反对该项目？
C. 谁将为该项目付款？
2. 请指出下面需求描述存在的问题，并进行适当的修改。
（1） 系统用户界面友好。 （2） 系统运行时应该占用尽量少的内存空间。 （3） 即使在系统崩溃的情况下，用户数据也不能受到破坏。 （4） ATM 系统允许用户查询自己银行帐户的现存余额。 （5） ATM 系统应该快速响应用户的请求。 （6） ATM 系统需要检验用户存取的合法性。 （7） 所有命令的响应时间小于 1 秒；BUILD 命令的响应时间小于 5 秒。 （8） 软件应该用 JAVA 语言实现。 答案要点： （1） 问题：“友好”是不可验证的。
B. 每个指定系统的实现
C. 软件体系结构的元素
D. 系统仿真所需要的时间
9. 组织需求评审的最好方法是（
）。
A. 检查系统模型的错误
B. 让客户检查需求
C. 将需求发放给设计团队去征求意见
D. 使用问题列表检查每一个需求
10. 使用跟踪表有助于（
）。
A. 在后续的检查运行错误时调试程序
B. 确定算法执行的性能
（2） 需求分析：分析和综合所采集的信息，建立系统的详细逻辑模型。 （3） 需求规格说明：编写软件需求规格说明书，明确、完整和准确地描述已确定的需求。 （4） 需求验证：评审软件需求规格说明，以保证其正确性、一致性、完备性、准确性和清
LNG液化天然气 Chapter 04 烃水体系
Southwest Petroleum University
4.1 Water Content of Natural Gas
(3)Mcketta-Wehe算图拟合法
宁英男等在天然气工业上发表了对Mcketta-Wehe算图 拟合计算公式：
WH 2O Cg CSW0 C g 1.01532 0.0011T 0.0182d 0.00142Td CS 1 0.02247 S ln W0 a0 a1T a2T 2
16
Southwest Petroleum University
4.2 Water-Hydrocarbon Phase Equilibria
水和烃的互溶形式：水溶解于天然气中、水溶解于液 烃中、烃溶解于水中。 一、泡点和露点计算 1、简化方法一
假设两液相完全不互溶，水不作为一个组分。
①计算水的分压pH2O 假定泡点温度或露点温度，计算pH2O。泡点时，pH2O 为水的饱和蒸气压，露点时为水的分压。 ②计算烃分压
式中：WH2O——校正后的天然气含水量，g/m3； W0——天然气相对密度为0.6时的含水量，g/m3； T——体系温度，℃； S——水分的含盐量。
14 College of Chemistry & Chemical Engineering,SWPU
Southwest Petroleum University
B、以H2S的当量浓度、温度和压力求校正因子R。 以H2S的浓度和温度确 定一点m，过m点作垂线交
等压力线于点K，K点所对 应的绘坐标为R。
C、含水量校正
K
酸性天然气含水量为：
酸性天然气中含水量(W ) R 非酸性天然气中含水量(WHC )
Chapter_04
Contribution of new knowledge only partially captured by creator From one new idea springs another knowledge can grow indefinitely
4-10
N and the Endogenous Growth Model
4-6
Mechanics of Endogenous Growth
•
•
Need to modify the production function to allow for selfsustaining, endogenous growth Economy illustrated in Figure 4-1 (b) is described by a production function with a constant MPK: Y = aK (1)
4-1
Chapter 4
Growth and Policy
• • • • Item Item Item Etc.
McGraw-Hill/Irwin Macroeconomics, 10e
© 2008 The McGraw-Hill Companies, Inc., All Rights Reserved. 4-2
•
[Insert Figure 4-1 (a) and (b) here]
If savings above required investment, economy is growing as more capital is added process continues until savings equals required investment (reach the steady state)
chapter04 清华大学《现代信号处理》讲义-胡广书
1.幅度是中心在（0，0）的高斯信号； 2.在 θ , τ 两个方向上是振荡的，振荡频率 由 Ω 0 , t0 决定 ；注意，Ω 0 , t0 并不影响
AF的中心位置； 3. AF是复函数。
例2
α 2 x(t ) = ∑ exp − α (t − t i ) 2 + jΩ i t i =1 π
结论：Cohen 类的任一成员都可由Wigner分布 得到。
（5）用广义模糊函数表示
M x (θ，τ ) = Ax (θ，τ )g(θ，τ )
Cx (t，Ω) = ∫∫ M x (θ，τ )e
− j (θt +Ωτ )
dτdθ
（6）用广义时间相关表示
− jtθ ′ 定义： g ( t，τ ) = ∫ g (θ，τ ) e dθ
上一例已求出，中心在 (θ , τ ) = (0, 0) 处；
互项：
1 2 α 2 1 Ax1 ,x2 (θ，τ ) = exp − (θ −Ωd ) + (τ − td ) exp j ( Ωuτ +θ tu +Ωd tu 2π 4 4α
1 2 α 2 1 Ax1 ,x2 (θ，τ ) = exp − (θ −Ωd ) + (τ − td ) exp j ( Ωuτ +θ tu +Ωd tu ) 2π 4 4α
Wx ( t，Ω ) = ∫ rx (t , τ )e − jΩτ dτ
WVD定义为瞬时自相关对 时间延迟 的傅里叶正变换
τ
rx ( t，τ ) = ∫ Ax (θ ，τ ) e − jθ t dθ
Wx ( t，Ω ) = ∫ rx (t , τ )e − jΩτ dτ = ∫∫ Ax (θ ，τ ) e
茶树育种学Chapter-04第四章 有性杂交育种
第一节 有性杂交育种的类别和意义
（2）是生物进化的重要方式 自然界通过生物群体间的天然杂交而产生变异
，人类有意识地将不同亲本的理想基因组合一 起，创造新的种质资源，打破了生物种间的生 殖隔离。
第一节 有性杂交育种的类别和意义
（3）是研究遗传理论的重要方法之一 自由分离和独立分配规律；连锁遗传现 象；细胞质遗传等。 遗传学中纯系杂交、自交和回交方法在 茶树中应用受到限制。
A品种称为轮回亲本，B品种只参加一次杂交，称 为非轮回亲本。
第三节 有性杂交亲本的选择和选配
第三节 有性杂交亲本的选择和选配
亲本选择：指根据育种目标选用具有优良性状 的品种类型作为杂交亲本。
亲本选配：从入选的亲本中选用哪些亲本配组 杂交，确定父母本及先后顺序。
ห้องสมุดไป่ตู้
第三节 有性杂交亲本的选择和选配
一、 亲本的选择原则 （1）广泛搜集，精选亲本
第二节 杂交方式
一、 两亲杂交
两亲杂交：参加杂交的亲本只有两个。有正反 交之分，如果育种目标的性状不受细胞质基因控 制时，正交和反交的育种效果相同。
简单易行，育种时间短，杂种后代群体的规模 相对较小，在茶树中普遍采用。
第二节 杂交方式
二、 多亲杂交
多亲杂交：三个或三个以上的亲本参加的杂 交。能将分散于多个亲本上的优良性状综合于 杂种之中，育种年限长。根据参加杂交的亲本 次序不同分为添加杂交和合成杂交。
第二节 杂交方式
第二节 杂交方式
杂交方式：要用几个亲本，亲本间如何配置。 亲本：父本和母本 父本： ♂，开花期与母本接近，花粉发芽率高。 母本： ♀，结实力强，无通过细胞质遗传的不良性状。 杂交：×，母本在前，父本在后。 杂种第一代：杂交后所得到的种子及其长出的植株，用F1 表示。 茶树杂交育种中主要利用杂种一代。
Chapt04_Specific Factors and Income Distribution
Copyright © 2012 Pearson Addison-Wesley. All rights reserved.
4-4
The Specific Factors Model (cont.)
– Cloth produced using capital and labor (but not land). – Food produced using land and labor (but not capital). – Labor is a mobile factor that can move between sectors. – Land and capital are both specific factors used only in the production of one good.
Chapter 4
Specific Factors and Income Distribution
Copyright © 2012 Pearson Addison-Wesley. All rights reserved.
Chapter Organization
• Introduction • The Specific Factors Model • International Trade in the Specific Factors Model • Income Distribution and the Gains from Trade • Political Economy of Trade: A Preliminary View • International Labor Mobility • Summary
Copyright © 2012 Pearson Addison-Wesley. All rights reserved.
Chapter 04-The Path of least resistance
(Chapter 4)(The Path of Least Resistance)A Lesson from the GhettoRecently I was traveling from New York’s La Guardia Airport to Manhattan. My cabdriver chose to avoid the congested traffic on the East River Drive. His route brought me through my old neighborhood in East Harlem.I had moved there after getting a master’s degree from the Boston Conservatory of Music. What a contrast that was, cultural Boston and “culturally deprived” East Harlem. For a musician just if for the New York music scene, East 110th Street between Second and Third Avenue was just the right price in those days.Most of us have a talent for selective memory. We remember the past as containing many more good experiences than bad ones. (My grandmother had it just the other way around.) And so, as I studied my old turf, I was flooded with wonderful memories of my ghetto days. Suddenly I was brought back to the present by an extraordinary example of ghetto art, graffiti.This art from developed years ago. Its origin was the wanton vandalizing of property. When I lived in East Harlem, graffiti was not yet an art form. Just kids, spray cans, and walls. Mostly the kids used the walls to express their hostility by painting expletives in large, sloppy letters. Occasionally a kid would express his romantic tendencies with great declarations of love; Jose’ loves Judy.Over the years the letters became more artistic and then developed into complex artistic creations. The young artists became competitive with each other. Originality and craft became the norm. The bravado of youthful energy came to beexpressed in painting rather than in gang warfare. Bold designs gave way to bolder designs. The color was strong, direct, primary.The city became the canvas. These artists would stalk at night and paint on whatever surface they found. They used up the available walls quickly and then found the perfect symbol of their art: subway cars- owned by the society the artists were separate from, vital to the movement of the populace, gray, drab, dilapidated, lifeless and institutional.The graffiti writers would break into the railway yards and spend the night painting subway cars. Then the Transit Authority would spread their works to a mass audience throughout the city. Influenced by each other’s work, the artists’creations got better. The authorities became alarmed and put armed guards around the railway yards. But by that time the highbrow art world had taken notice. Some of the best ghetto artists were sought out by art dealers. The artists switched to real canvasses. A fad rose and fell in short order.Gallery success might have been temporary, but the artists kept on painting, growing, and developing. New artists emerged, pushing the art form further and further still. Later the city of Tokyo would invite one of the best artists to come to Japan and paint long murals on their subway cars.What a story. Too strange to be fiction. If someone had told you twenty-five years ago that somebody in New York City the “culturally deprived,”undereducated children of welfare would rise up, not in violence, but in art and in dance (break dancing) and in poetry (rap), you might have asked to examine that person’s sugar cube for traces of LSD.What caught my eye and captured my imagination that day in East Harlem was a new evolutionary step in graffiti art. It was the choice of colors. Pastels. No longer the bright, bold, shouting colors of a few years ago, but colors that were soft, translucent, subtle, and penetrating.Somewhere in the destructive life of the inner city, a young artist is think about color. Experimenting with quinacri-done violet and cerulean blue. Mixing and blending opposite colors to create illusions of space and dimension. And somehow, because of this, I experience hope for our civilization.There is a profound lesson here. It is partly about the human spirit. We have been led to believe that the circumstances of our life determine our ability to express ourselves. That for us to explore new dimensions of our being, our conditions need to be favorable. If that were true, how could such creativity, originality, and vitality come from such humble and adverse beginnings as the ghetto? How is it that it was from there, and not there sacred institutions of academia, that new thought, born of what is highest in humanity, developed and grew? Perhaps our true is that of creators, who can bring forth new life out of any set of circumstance.Creating Is Not a Product of the CircumstancesCreating is completely different from reacting or responding to the circumstances you are in. The process of creating is not generated by the circumstances in which you find yourself, but the creation itself.It is popular to think of creativity as a product of your environment, culture, or other circumstances that foster the creative process. An example of this notion was the corporate fad, popular just a few years ago, of “engineer environments” that weresupposed to the conducive for creating. But a quick survey of the history of creativity will make it obvious that people have created in a wide range of circumstances, from convenient ones to difficult ones.As you begin to consider what you want to create in your life. It is good for you to know that the circumstances that presently exist are not the determining factor of the results you desire to create. You are not limited by them, eve though it may seem you are entrenched in them.Because creating is so essentially different from the creative-responsive orientation to which you have been exposed, it may seem ridiculous to consider life to be any different from what you have experienced before. You may be reading these words with the suspicion that this is yet another pep talk designed to inspire you to a new way of life. Or you may think that creating is possible only for the artist, that the creative process is limited to painting, music, filmmaking, poetry, or the other arts.Even though the most obvious expression of the creative process is found in the arts, it is in no way limited to the arts. Almost all of your life’s desires can be the subject of the creative process. There need be no separation from the creative process as practiced in the arts and the same creative process as practiced in other human endeavors. In addition, the art is a perfect arena for learning the special ability and skill of creating.It is wise to learn about the creative process from those practitioners who know the most about it and who have used it to bring the highest fruits of the creative process into being. This is a different skill from what you have learned in school, at home, or at work, and yet it is one of the most important skills to develop in your life.Pablo Casals, one of the greatest cellists of our century, did not limit his concept of creating his music.I have always regarded manual labor as creative and looked withrespect- and, yes, wonder- at people who work with their hands. Itseems to me that heir creativity is no less than that of a violinist orpainter.And psychologist Carl Rogers has written:The action of the child inventing a few game with his playmates;Einstein formulating a theory of relativity; the housewife devising anew sauce for the meat; a young author writing his first novel; all ofthese are, in terms of our definition, creative, and there is no attempt toset them in some order of more or less creative.When one does not consciously know the skill of creating, it is common to suppose the creative process a product of the unconscious, or of mysticism. Then the creative process becomes a search for the formula that will tap your hidden powers. Because your “normal” self seems not to be the possessor of such powers, you might assume they must lie somewhere else.In the story of Dumbo the elephant, a mouse convinces Dumbo that he can fly because of a “magic” feather. Dumbo tries out the feature and finds he can fly. But one day he loses his feather and thinks he has lost the ability. The mouse confesses that the story of the magic feather was a hoax and that Dumbo’s ability to fly was his own. Dumbo discovers he can fly without benefit of feather.Many of the theories about the creative process are similar to Dumbo’s magicfeather. In these theories the power to create what you want depends on a magical talisman that will enable you to unlock your hidden powers once and for all.To some jungle tribes who have not had contact with modern civilization，the jet planes they see flying overhead take on a magical meaning. These planes are seen as gods or at least vehicles of gods.It is common to assume that the unknown is unknowable, or at lease unknowable by normal means. It is our inexperience and ignorance that can make the creative process seem as if it is an outcome of magical operations, the same kind of inexperience and ignorance a jungle tribe may have about modern aviation. But, in fact, creating is a skill that can be learned and developed. Like any skill, you learn by practice and hands-on experience. You can learn to create by creating.The StepsThe steps in the creative process are simple to describe, but they do not constitute a formula. Instead, each step represents certain types of actions. Some aspects of the creative process are active, some are more passive. Different aspects call for different skills. You ma have developed some of these skills already and find that other skills are not as easy at first. Each time you create a new result, you are involved in a unique creation. While your ability will develop over time with experience, every new creation has its own individual process.In this chapter I will outline the basic steps of creating. In later chapters I will develop these steps so that you will be able to begin to experiment with them in your own life. Think of the following as an overview of the creative process rather than as a formula to adopt.1.Conceive of the result you want to create.Creators start at the end. First have an idea of what they want to create. Sometimes this idea is general, and sometimes it is specific. Before you can create what you want to create, you must know what you are after, what you want to bring into being. Your original concept may be clear, or it may be simply a rough draft. Either will work well. Some creators like to improvise as they create, so they begin with a general concept. A painter may not know exactly how the final painting may look, but he or she has enough of a concept to make adjustments during the creative process so that the painting in progress will come closer and closer to what the artist wants. Other painters know exactly what the final painting will look like before they pick up a brush. Georgia O’Keeffe said, “I don’t start until I’m almost entirely clear. It is a waste of time and paint if I don’t. I’ve wasted a lot of canvasses, so be pretty clear.”Knowing what you want is itself skill. Our traditional educational system does not encourage you to know what you want. Instead you are encouraged to choose the “correct” response from narrow choices that life seems to offer. Frequently this has little relationship to what you really want. Because of this, many people develop an ambivalence toward what they want. And why not? It is hard to be enthusiastic about the choices most people are left with. But as you develop your own creative process, conceiving of the results you want will become meaningful and interesting.2.Know what currently exists.If you were painting a painting, you would need to know the current state ofthe painting as it developed. This would be important knowledge. If you did not know what you had created so far, it would be impossible for you to add more brushstrokes or change what you had done so as to bring the painting you wanted into being.Knowing what currently exists is another skill. While this may sound deceptively simple, in fact most of us have been encouraged to view reality with particular biases. Some people make reality seem better than it is, some make it seem worse than it is, and some minimize how good or bad it can be. One of the most important abilities creators have is the ability to be objective about their own creation. There is a notion, popular in many university philosophy departments, that you can never really view reality objectively. But in the same university, the art department teachers those students to draw portraits of models. This drawing skill helps students learn first to see, and then represent, what they are looking at. Even though each art student may have his or her own style of portraiture, anyone from the philosophy department could identify the model by looking at any of the drawings of the model.In music conservatories students are taught to identify rhythms, harmonies, and intervals by hearing them. This skill is called ear training. This is another skill in which students are taught to identify and represent reality correctly. When they write down the music that was played, it is not a matter of “interpretation.” If the student correctly identifies what was played, he or she gets an A. Students who do not correctly identify what is played get less than an A. Music students learn how concrete the perception of music can be. This is another example of training designed to enhance the ability to view reality objectively.In a similar way, you need to develop the skill of viewing reality objectively.For many people reality is an acquired taste. At first glance you may have uncomfortable and disturbing experiences. If you were in a problem-solving mode, you would take action to restore feelings of balance and well-being. The most common way people do this is by misrepresenting reality. They may lie, rationalize, or distract themselves from what is going on. But as you learn to master your own creative process, you develop a capacity for truth. Good, bad, or indifferent, you will still want to know accurately what is going on.3．Take actionOnce you know what you want and what you currently have, the next step is to take action. But what kind of action do you take? Creating is a matter of invention rather than of convention. Education emphasizes convention, so you may have had little experience with inventing. Inventing is another skill that can be developed. When you take an action that is designed to bring your creation into being, the action may either work or not work. If the action works, you can continue taking it or discontinue taking it. Sometimes it will be useful to continue, sometimes it will not be useful to continue. You will know what to do by watching the changes in the current state of the result. All the actions, the ones that work and the ones that do not work, help to create the final result. This is because creating itself is a learning process, learning what works and what does not work. The stock-in-trade of a creator are the abilities to experiment and to evaluate one’s experiments.Invention is not all trail and error. As you invent actions to bring your creations into being, you begin to develop an instinct for the actions that work best. Creators are able to develop an economy of means. This generally happens over time, and themore you create, the more chance you have to develop your own instincts.Some of the actions you take will help you move directly to the result you want, but most will not. The art of creating is often found in your ability to adjust or correct what you have done so far. Many people have been encouraged to “get it right the first time”or, even worse, to “be perfect.”This policy can lead to profound inexperience in the adjustment process. Instead of making the most of what you have done so far, in order to bring creation into existence, you may be tempted to give up anytime the circumstances seem against you. Sometimes people encourage others to “stay with it”and develop “determination and fortitude”in reaction to habitual quitting. But this manipulation hardly ever works. Without an ever-increasing ability to adjust the actions you take, trying to “stay with it”can seem like banging your head against a wall. After sincere attempts to “stay with it” fail and fail again, the path of least resistance is to quit. You may have thought your habitual giving up was a serious character flaw. But this is probably not the case. It is not fortitude, willpower, or determination that enables you to continue the creative process, but learning as you go.4. Learn the rhythms of the creative process.There are three distinct phases of the creative process: germination, assimilation, and completion. Each phase has its own energy and class of actions.Germination begins with excitement and newness. Partly this germinational energy comes from the unusualness of the new activity.Assimilation is often the least obvious phase of the process. In this phase the initial “thrill is gone.” This phase moves from a focus on internal action to a focus onexternal action. In this phase you live with your concept of what you want to create and internalize it. It becomes part of you. Because of this, you are able to generate energy to use in your experiments and learning. The drama of the first blush of germination is over, but this new, quiet energy of assimilation helps you form the result.Completion is the third stage of creation. This stage has a similar energy to germination, but new it is applied to a creation that is more tangible. In this phase you use the energy not only to bring to final completion the result you are creating but also to position yourself for your next creation. In other words, this stage leads also to the germination of your next creation.5. Creating momentumMany of the theories describing creativity these days have a tone of “beginners luck.”For professional creators there is a different tone, that of ever-increasing momentum. Not only is the creative process a reliable method for producing the results you want, it also contains seeds of its own development. Who do you think has a greater chance for successfully creating the results they want: those who have done it for years, or those who are novices? It is true that some first-time novelists write masterpieces, but this is the exception, not the rule. Even Mozart, perhaps the most gifted composer in history, developed and grew in his art. The music he wrote in his thirties was far more advanced than what he wrote in his twenties or in his teens. The more music he wrote, the more he was able to write. His increasing experience gave him the momentum typical of the creative process. If you begin to create the results you want today, you are more prepared to create the results you want ten yearsfrom now. Each new creation gives you added experience and knowledge of your own creative process. You will naturally increase your ability to envision what you want and your ability to bring those results into being.。
chapter04_地面三维激光雷达误差分析及检校
图 4.1 不同基座引起的坐标原点误差
1
（2）测距误差 测距的误差因所采用的测距方法的不同而不同。采用脉冲法测距产生的测 距误差主要包括扫描仪脉冲计时的误差（即 t 的误差），以及测距技术中不确定 间隔的缺陷引起的误差 （可能造成数据的突变）；而采用相位法的测距误差主要 由调制光的频率误差 ∆f 引起，由于调制光的频率与实际光的频率不符，因而导 致实际距离与测量值之间存在一个比率误差。 （3）测角误差 激光光束的方向变换构成角度测量值。对于摄影式扫描仪，横向和纵向角 度均来自镜面转角，并由角位置传感器记录。对于全景式扫描仪，横向角度来 自激光扫描仪头部在步进电机绕竖轴旋转。因此地面三维激光扫描仪与全站仪 的测量方式近似，是一种高速动态测角（水平角和垂直角）、无合作目标测距的 高性能全站仪。不同的是，扫描仪本身没有人工目视照准功能，也不能进行人 工控制单点 （特定目标点） 测量。地面三维激光扫描仪构成极坐标测量系统，它 是由横轴，纵轴和照准轴组成的一个三轴系统，因此地面激光扫描仪的测角误 差和全站仪的测角误差相同。测角误差包括视准轴误差、水平角误差和垂直角 误差。视准轴误差是仪器视准轴与横轴非正交而产生的测角误差，水平角误差 是仪器横轴与竖轴非正交而产生的测角误差，垂直角误差是仪器竖轴偏离铅垂 线方向而产生的测角误差。国外已有的研究中列举了几个典型地面三维激光扫 描仪的测角误差检定结果（表 4.1），尽管误差值大小不一，但说明地面三维激 光扫描仪存在固有的测角误差。
4 地面三维激光雷达误差分析及检校
作为一种获取空间数据的手段，地面三维激光扫描也受到各种系统误差和 偶然误差的影响。本章将介绍地面三维激光扫描系统获取点云数据的误差的来 源和地面三维激光扫描仪的检校方法。最后通过实验进行了点云点位精度影响 因素的验证和地面三维激光扫描仪各系统误差的检校。4Βιβλιοθήκη 1地面三维激光雷达误差分析
CHAPTER04 出行平衡
4出行平衡在出行产生过程中，出行产生量和吸引量分别采用不同的模型预测得到，这必然会导致一个地区的出行产生量和吸引量有差别。
为了确保所得出行结果的一致性，我们使用出行平衡方法来保证出行吸引量和产生量相等。
本章内容出行平衡 (2)出行平衡TransCAD 提供了平衡出行产生量和吸引量的程序，几种出行目的的出行产生量和吸引量能在一个步骤中得到平衡。
该程序提供用于平衡出行的下列几种方法: • 保持出行产生量恒定：出行产生量保持恒定，调整出行吸引量使它与出行产生量相等。
• 保持出行吸引量恒定：出行吸引量保持恒定，调整出行产生量使它与出行吸引量相等。
• 对出行产生量和吸引量进行加权：对出行产生量和吸引量都进行调整，使他们的和等于用户指定的加权后的出行产生量和吸引量。
•总和等于用户规定值：调整出行产生量和吸引量，使它们各自的总和等于用户规定值。
当用户平衡出行时，可以选择特定的地区作为特殊产生地（special generators ），在该区域中出行产生的初始值在平衡过程中无需更改。
同样，用户还可以指某特定区域作为特殊吸引地（special attractors ），在那里出行吸引量的初始值不需要改变。
若要使用这些选项，用户需创建区域选择集，指定那些区域是特殊产生地和特殊吸引地。
特殊产生地和吸引地也可以使用同一选择集。
♦ 平衡出行产生量和吸引量1. 打开包含用户想要平衡的数列（出行产生量和吸引量字段）的地图层或数据表。
2. 选择 Planning-Balance 显示数列平衡（Vector Balancing ）对话框。
3. 从 Dataview 数据表下拉列表选择所需平衡的层。
4. 从Records 记录下拉列表中选择所有的记录（All Records ）或选择集。
5. 增加或编辑要平衡的数列。
数列滚动列表的每一行代表用户想要平衡的一组数列，以便每一数列的总数等于给定值。
如用户有n 个出行目的，则在滚动列表中就需要有n 行。
光电图像处理Chapter04_P
⎡qx ⎢q ⎢ y ⎢ 1 ⎣
⎤ ⎡ a 11 ⎥ = ⎢a ⎥ ⎢ 21 ⎥ ⎢ 0 ⎦ ⎣
a 12 a 22 0
tx ty 1
⎤⎡ px⎤ ⎥⎢ p ⎥ ⎥⎢ y⎥ ⎥⎢ 1 ⎥ ⎦⎣ ⎦
⎡ A t⎤ q = H A p = ⎢ T ⎥p ⎣0 1⎦
仿射变换是一种观察方位和视角的变换
光电子科学与工程学院 光电测控技术系 刘斌昺 2010年02月
连通组元在图像分析时通常视作“区域”
光电子科学与工程学院 光电测控技术系 刘斌昺 2010年02月
像素间的距离
距离度量函数 3个象素p，q，r，坐标为(x, y)，(s, t)，(u, v)，若 (1)
( D ( p , q ) ≥ 0 ( D ( p, q ) = 0
两个象素之间的距离总是正的
当且仅当
(x0 , y 0 )
, ( x1 , y1 ) ,…,
(xn , y n )
的 独 立 象 素 组 成 的 。 这 里 1≤I≤n，n 为通
(x0 , y0 ) = (x, y ) , (xn , y n ) = (s, t ) , (xi , yi ) 与 (xi −1 , yi −1 ) 邻接，其中
像素集合的连通
可将图像看作像素的集合。单个像素也是整副图像的一个子集。可以将上 述邻接、连接和连通的概念，推广到像素集合中。 对2个图象子集 S 和 T 来说，如果S中的一个或一些象素与 T 中的一个或 一些象素邻接，则可以说2个图象子集S 和 T 是邻接的。类似的，可以推 广到连接和连通。 完全在一个图象子集中的象素组成的连接通路上的象素集合构成该图象子 集中的一个连通组元。如果 S 中只有1个连通组元，即 S 中所有象素都互 相连通，则称 S 是一个连通集。
医用有机化学--chapter04 对映异构
H
H
镜子
4.1 对映异构的基本概念
注意：在考察分子的对称因素时，应将 原子或原子团看作球形。
4.1 对映异构的基本概念
丙酸分子中 如丙酸分子中 的对称面
存在一对称面， 为非手性分子。 而乳酸分子就 不存在对称面。
有对称面的分子与它的镜像能重 合，因此没有对映异构现象，称为非 手性分子（achiral molecule） 。
4.1 对映异构的基本概念
4.1 对映异构的基本概念
长瓣兜兰花两侧长瓣的螺旋是左右对称的， 右侧是左旋，左侧是右旋。 ——《科学》2002,Vol.54, No.55
4.1 对映异构的基本概念
手性(Chirality)：自然界的基本属性
• • 组成生命活动的基本化学物质是 手性化合物！ 手性药物：一把钥匙开一把锁！
结论：含对称中心的分子，与其镜像能 够重合，是对称分子，即非手性分子。
4.1 对映异构的基本概念 3. 对称轴 若分子以某直线为轴旋转360°/n后 （n为整数），所得的分子形象与原 来的分子相同，则该直线就称为n重 对称轴(symmetrical axis, 记为Cn)。
C2 H3C CH 3 H C 2H 5 C 2H 5 C2 H
4.1 对映异构的基本概念 比旋光度与旋光度的关系
t：测定温度（℃） D：光源（钠光，589nm） l：旋光管长度（dm） C：溶液浓度（g· ml-1）
如： α 98.3 （c，1，CH3OH）
20 D
4.1 对映异构的基本概念 例如：在胆固醇的氯仿溶液中，浓 度为 260mg/5ml ，放入 5cm 长的盛 液管中在室温（20℃）下测定其旋 光度为-2.5 ° ，求它的比旋光度？ [α]Dt = [α]D20 =α/(L*c) = -2.5/(0.5dm×0.26g/5ml) = -96°
chap04 数据库的创建和使用
控制表间数据的一致性，尤其是不同表的主关键字和 外部关键字之间数据的一致性。
如何编辑参照完整性：
右击表之间的纽带连线； 选择“编辑参照完整性”命令，系统提示要求“清理
数据库” ； “数据库”菜单→“清理数据库”命令 ； 重新选择“编辑参照完整性”命令，打开“编辑参照
完整性”对话框。
标题：控制字段输出时显示的字段名称。
9
数据库表的字段扩展属性
字段验证规则
一种与字段相关的有效性规则，主要控制某个 字段输入数据是否合理合法。
规则：输入有效数据的表达式 信息：输入数据返回规则或者输入数据不合法时的
提示信息，必须要加双引号
默认值：系统给某个字段输入的一个初始值， 如果是字符数据也必须加双引号。
19
参照完整性规则
更新规则(主表记录被修改时触发)：
级联：子表同步更新 限制：禁止主表更新，不允许主表更新 忽略：允许主表更新，子表保持不变
删除规则(主表记录被删除时触发) ：
级联：子表同步删除
主表物理删除，子表逻辑删除；主表逻辑删除，子表逻辑 删除
限制：禁止主表删除，不允许主表删除 忽略：允许主表删除，子表保持原样
通过“新建”对话框新建：
保存后，自动打开数据库设计器，但数据库没有包含在项目 中，而是需要用户自己把新建的数据库添加到项目管理器中。
命令方式：
命令窗口：create database 数据库名
5
数据库的使用
打开数据库：open database 数据库名 设置当前数据库：set database to 数据库名 关闭数据库：
一对多关系：表之间的一种关系，在这种关系中，主 表中的每一个记录与相关表中的多个记录相关联（每 一个主关键字值在相关表中可出现多次）。
Chapter04_PPT
– If/Then
• Single-selection structure
– If/Then/Else
• Double-selection structure
– Select Case
• Multiple-selection structure
2002 Prentice Hall. All rights reserved.
Fig. 4.2
2002 Prentice Hall. All rights reserved.
Visual Basic keywords.
12
4.4 Control Structures
Private RaiseEvent Rem Select Short Stop SyncLock True Until WithEvents #If...Then...#Else Property ReadOnly RemoveHandler Set Single String Then Try When WriteOnly Protected ReDim Resume Shadows Static Structure Throw TypeOf While Xor -= Public Region Return Shared Step Sub To Unicode With #Const &
2002 Prentice Hall. All rights reserved.
6
4.4 Control Structures
• Transfer of control
– GoTo statement
• It causes programs to become quite unstructured and hard to follow
chapter04稳定化处理技术讲解
Cr：平衡时有机污染物在萃余液中的浓度（重 量百分比）
例：当K=4时，计算从4kg的原料中一次提取 50%有害污染物，至少需要多少萃取液？ 答案：需要1kg萃取液。
27
稳定化/固化技术原理
超临界流体原理
价格与回收的可能性：能否将物料从超临界流 体中分离出来，主要取决于两种流体的密度差；
①有害废物经固化处理后所形成的固化体应具有良好 的抗渗透性、抗浸出性、抗干湿性、抗冻融性及足 够的机械强度等，最好能作为资源加以利用，如作 建筑基础和路基材料等；
②固化过程中材料和能量消耗要低，增容比要低； ③固化工艺过程简单、便于操作； ④固化剂来源丰富，价廉易得； ⑤处理费用低。 衡量固化处理效果的两项主要指标是固化体的浸出
t ~浸出时间，d。
测量和评价固化体浸出率的目的：
①在实验室或不同的研究单位之间，通过固化体难溶性程度比较， 可以对固化方法及工艺条件进行比较、改进或选择；
②有助于预计各种类型固化体暴露在不同的环境时的性能，可用 以估计有毒危险废物的固化体在贮存或运输条件下与水接触所引 起的危险大小。
增容比是指所形成的固化体体积与被固化有害 废物体积的比值，即
临界温度和压力：为减少能量消耗和运行费用， 临街压力和温度越低越好；
毒性、危险性和化学反应性：在萃取过程中， 不希望溶质和溶剂发生化学反应，但有机物在 超临界水相中的氧化、反应性是一个基本条件；
其他物理性质，如密度和表面张力。
28
固化/稳定化处理技术
固化/稳定化处理技术
包胶固化 自胶结固化 玻璃固化 水玻璃固化
❖ 水泥固化法的应用； ❖ 水泥固化法的优点和
缺点。
31
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《经济谈判》
许晓明
复旦大学出版社
第4章
商务谈判的过程
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商务谈判的过程
本章小结
主要知识点： 1、商务谈判的全过程即每个阶段的具体内容和任务 2、谈判的后期工作 要求：重点掌握开场陈述、价格解释；掌握如何报价、 如何对待对方报价、签约前后应注意的问题；了解谈 判的后期评估。 重点名词：开场陈述、价格解释、实质性分歧、假性 分歧。
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商务谈判的过程
参考书目
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商务谈判的过程
4.3
1、还价前的准备
磋商阶段
（1）分析、判断对方的意图； （2）弄清谈判双方的分歧所在。 实质性分歧：是谈判双方原则性的根本利益的真正 分歧。 假性分歧：谈判中的一方或双方为了达到某种目的 人为设置的难题或障碍。
2、讨价还价的过程（让步的过程）
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2、谈判对手的评估
是对谈判对手的谈判作风、工作效率、谈判策略及技 巧的总结。
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商务谈判的过程
4.5
谈判的后期评估
3、谈判方法的评估
指对本方谈判工作的组织、管理、协调能力、谈判 技巧的运用能力等进行的总结。
4、谈判结果的评估
总结。
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根据商务谈判的价值评判标准对谈判结果进行量化、
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（3）不要轻易在对方拟定的协议上签字。
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商务谈判的过程
4.4
拍板、签约阶段
4、签约后应注意的问题
（1）注意签约后有无影响协议的不可抗力因素发生；
（2）密切注意对方的经营状况；
（3）作好协议的解释工作。
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第4章
商务谈判的过程
4.5
谈判的后期评估
1、谈判过程的评估
是对谈判从准备到结束整个运作过程的全面总结。
商务谈判的过程
4.4
1、拍板
拍板、签约阶段
通过协商，谈判双方取得一致的意见，达成了某 种协议，这种口头上的允诺即为拍板。
2、签约
谈判双方协商用恰当的语言，通过书面或其他法 定的形式将谈判内容固定下来。
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商务谈判的过程
4.4
拍板、签约阶段
3、签约前应注意的问题
（1）达成的协议必须见诸于文字； （2）协议的文字要简洁，概念要明确，内容要具体；
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商务谈判的过程
4.1
开局阶段
（3）己方陈述时应注意的问题
内容要简短，语言要精炼； 注意言词态度； 请对方表态。
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商务谈判的过程
4.1
开局阶段
（4）对方陈述时己方应注意的问题
倾听 澄清 归纳
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商务谈判的过程
4.2
1、报价
报价阶段
是对各种谈判要求的统称，而不仅仅单指商品在价 格方面的要价。
（见附图）
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商务谈判的过程
4.1
听觉：声音、语气、语音、语调
开局阶段
文字：用语、内容
7% 38% 55%
视觉：服饰、仪表、动作
第一印象的取得
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商务谈判的过程
4.1
开局阶段
（3）以中性话题作为开场白（寒暄）
中性话题：指与谈判主题不相干的一些话题。
话题的选择
寒暄在谈判中作用：观察对方情绪和个性特征，获
商务谈判的过程
4.2
价格解释的意义：
报价阶段
卖方：充分表白所报价格的真实性、合理性，
增强其说服力； 软化买方要求，缩小买方讨价的期望值。 买方：了解卖方报价的实质和可信程度； 掌握卖方的薄弱之处，为还价作准备。
价格解释的原则：有理、有利、有节。
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商务谈判的过程
4.2
报价阶段
价格解释的技巧： 卖方： 有问必答 不问不答 避虚就实 能言勿书 买方： 善于提问
2、合理报价的重要性 3、如何报价
（1）坚定果断 （2）清楚明白 （3）不加评论
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商务谈判的过程
4.2
报价阶段
4、如何对待对方的报价
（1）倾听 （2）提问 （3）要求对方作价格解释 价格解释 对方报价完毕之后，要求对方对其价格的构成、 报价依据、计价基础以及方式方法等做出详细地解 释。
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取有用信息。
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商务谈判的过程
4.1
开局阶段
2、确定谈判的通则议程
不同的议程可以阐明或隐藏谈判者的动机；
可以建立一个公平或对一方有利的原则；
可以使谈判直接切入主题，富有效率，亦可 使谈判变得冗长，进行无谓的口舌之争。
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商务谈判的过程
4.1
开局阶段
3、概说（开场陈述） （1）开场陈述：谈判双方分别阐述自己对有关问题 的看法和原则。 （2）陈述内容： 我方对问题的理解 我方的利益 我方的首要利益 我方可作出的让步和商谈事项 我方的原则
《国际商务谈判》
第4章
商务谈判的过程
山东工商学院
于红
2010.3
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商务谈判的过程
第4章
4.1
4.2 4.3 4.4 4.5
商务谈判的过程
开局阶段
报价阶段 磋商阶段 拍板、签约阶段 谈判的后期评估
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商务谈判的过程
4.1
开局阶段
1、形成良好的谈判气氛
（1）选择适宜的场所，营造舒适的环境；
（2）树立良好的第一印象；