Colour deconfinement in hot and dense matter

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色彩还原度 英语

色彩还原度 英语

色彩还原度英语Color Restoration DegreeThe world we live in is a vibrant tapestry of hues, each color possessing the power to evoke emotions, influence perceptions, and shape our experiences. From the serene azure of a clear sky to the fiery crimson of a sunset, the interplay of colors is a fundamental aspect of our visual landscape. However, in our modern era, where technology has become an integral part of our daily lives, the true essence of color can often become distorted or diminished.The concept of color restoration degree is a crucial consideration in the digital age. As we increasingly rely on electronic devices to capture, display, and share visual information, it is essential to ensure that the colors we perceive accurately reflect the original scene or object. This is where the color restoration degree comes into play, serving as a measure of how faithfully the digital representation of color matches the physical reality.One of the primary challenges in achieving accurate color restoration lies in the inherent limitations of digital imaging and display technologies. Digital cameras, for instance, use sensors that aredesigned to capture light in specific wavelength ranges, which may not always align perfectly with the human visual system. Similarly, computer monitors and other display devices have their own color gamuts, or the range of colors they can reproduce, which may not encompass the full spectrum of colors perceivable by the human eye.To address these challenges, color management systems have been developed to optimize the color reproduction process. These systems employ various algorithms and calibration techniques to ensure that the colors displayed on our screens, printed on our documents, or captured by our cameras closely match the original colors in the physical world.The color restoration degree is a metric that quantifies the success of these color management efforts. It is typically expressed as a percentage, with 100% representing a perfect match between the digital and physical colors. The higher the color restoration degree, the more accurate and true-to-life the color representation will be.Achieving a high color restoration degree is particularly crucial in industries where color accuracy is of paramount importance, such as photography, graphic design, and fine art reproduction. In these fields, even minor deviations in color can have significant consequences, affecting the overall aesthetic, emotional impact, or even the commercial value of the final product.However, the importance of color restoration degree extends beyond professional applications. In our everyday lives, the ability to accurately perceive and reproduce colors can have a profound impact on our experiences and our understanding of the world around us.Consider the case of medical imaging, where accurate color representation can be crucial for the accurate diagnosis and treatment of various conditions. Doctors and healthcare professionals rely on digital imaging technologies, such as X-rays, MRI scans, and endoscopic procedures, to visualize the internal structures of the human body. If the color restoration degree in these images is not high enough, it can lead to misinterpretations or missed diagnoses, with potentially serious consequences for the patient.Similarly, in the realm of education and research, the ability to accurately reproduce color can be essential for the effective communication of scientific concepts, the analysis of data visualizations, and the accurate representation of natural phenomena. Inaccurate color reproduction can hinder the understanding and interpretation of crucial information, ultimately impacting the quality of learning and the advancement of knowledge.Beyond these professional and academic applications, the color restoration degree also plays a role in our everyday aesthetic experiences. The way we perceive and interact with the digital world, from the vibrant hues of our social media posts to the subtle nuances of our favorite films and television shows, can be greatly influenced by the quality of color reproduction.When the color restoration degree is high, we are able to fully immerse ourselves in the visual experiences presented to us, allowing us to appreciate the true essence of the colors and the emotional resonance they evoke. Conversely, when the color restoration degree is low, the disconnect between the digital representation and the physical reality can be jarring, disrupting our sense of engagement and undermining the overall aesthetic impact.In conclusion, the color restoration degree is a critical consideration in the digital age, with far-reaching implications across a wide range of industries and aspects of our lives. By ensuring accurate and faithful color reproduction, we can unlock the full potential of digital technologies, enhance our understanding of the world around us, and enrich our aesthetic experiences. As we continue to navigate the ever-evolving landscape of digital media, the importance of color restoration degree will only continue to grow, serving as a vital bridge between the virtual and the physical realms.。

工业设计专业英语词汇

工业设计专业英语词汇

工业设计专业英语词汇设计的分类与方法学(英语)1 设计Design2 现代设计Modern Design3 工艺美术设计Craft Design4 工业设计Industrial Design5 广义工业设计Generalized Industrial Design6 狭义工业设计Narrow Industrial Design7 产品设计Product Design8 传播设计Communication Design8 环境设计Environmental Design9 商业设计Commercial Design10 建筑设计Architectural11 一维设计One-dimension Design12 二维设计Two -dimension Design13 三维设计Three-dimension Design14 四维设计Four-dimension Design15 装饰、装潢Decoration16 家具设计Furniture Design17 玩具设计Toy Design18 室内设计Interior Design19 服装设计Costume Design20 包装设计packaging Design21 展示设计Display Design22 城市规划Urban Design23 生活环境Living Environment24 都市景观Townscape25 田园都市Garden City26 办公室风致Office Landscape27 设计方法论Design Methodology28 设计语言Design Language29 设计条件Design Condition30 结构设计Structure Design31 形式设计Form Design32 设计过程Design Process33 概念设计Concept Design34 量产设计,工艺设计Technological Design35 改型设计Model Change36 设计调查Design Survey37 事前调查Prior Survey38 动态调查Dynamic Survey39 超小型设计Compact type40 袖珍型设计Pocket able Type41 便携型设计Portable type42 收纳型设计Selfcontainning Design43 装配式设计Knock Down Type44 集约化设计Stacking Type45 成套化设计Set (Design)46 家族化设计Family (Design)47 系列化设计Series (Design)48 组合式设计Unit Design49 仿生设计Bionic Design50 功能Function51 独创性Originality52 创造力Creative Power53 外装Facing54 创造性思维Creative Thinking55 等价变换思维Equivalent Transformation Thought 58 集体创造性思维法Brain Storming59 设计决策(Design) Decision Making62 印象战略Image Strategy64 功能分化Functional Differentiation65 功能分析Functional Analysis66 生命周期Life Cycle67 照明设计Illumination Design68 结构素描Structure Sketching设计色彩方法(英)1 色Color2 光谱Spectrum3 物体色Object Color4 固有色Proper Color5 色料Coloring Material6 色觉三色学说Three-Component Theory7 心理纯色Unique Color10 色彩混合Color Mixing11 基本感觉曲线Trisimulus Valus Curves12 牛顿色环Newton's Color Cycle13 色矢量Color Vector14 三原色Three Primary Colors15 色空间Color Space16 色三角形Color Triangle17 测色Colourimetry18 色度Chromaticity19 XYZ 表色系XYZ Color System实色与虚色Real Color and Imaginary Color 色等式Color Equation等色实验 Color Matching Experiment 色温 ColorTemperature 色问轨迹Color Temperature Locus 色彩三属性Three Attributes of Color 色相Hue 色相环Color Cycle 明度lightness 彩度(纯度) Chroma 环境色 Environmental Color 有彩色 Chromatic Color 无彩色 Achromatic Colors 明色 Light Color 暗色 Dark Color 中明色 Middle Light Color 清色 Clear Color 浊色 Dull Color 补色 Complementary Color 类似色 Analogous Color 一次色Primary Color 二次色Secondary Color 色立体Color Solid 色票Color Sample 孟塞尔表色系 Munsell Color System 奥斯特瓦德表色系Ostwald Color System 日本色研色体系Practical Color Co -ordinate System 色彩工程Color Engineering 色彩管理Color Control 色彩再现 Color Reproduction 等色操作 Color Matching 色彩的可视度 Visibility of Color 色彩恒常性 Color Constancy 色彩的对比Color Contrast 色彩的同化Color Assimilation 色彩的共感性Color Synesthesia 暖色与冷色 Warm Color and Cold Color 前进色与后退色Advancing Color Receding Color 膨胀色与收缩色Expansive Color and Contractile Color 重色与轻色Heavy Color and Light Color 色阶 Valeur 色调 Color Tone 暗调 Shade20 21 22 23 24 252627 28 29 30 31 32 33343536 37 38 39 40 41 42434445 464748495051525354555657585960616263 明调Tint64 中间调Halftone65 表面色Surface Color66 平面色Film Color67 色彩调和Color Harmony68 配色Color Combination69 孟塞尔色彩调和Munsell Color Harmony70 奥斯特瓦德色彩调和Ostwald Color Harmony71 孟.斯本瑟色彩调和Moon.Spencer' Color Harmony72 色彩的感情Feeling of Color73 色彩的象征性Color Symbolism74 色彩的嗜好Color Preference75 流行色Fashion Color76 色彩的功能性Color Functionalism77 色彩规划Color Planning78 色彩调节Color Conditioning79 色彩调整Color Coordination80 色彩设计Color Design材料与加工成型技术(英)1 材料Material2 材料规划Material Planning3 材料评价Material Appraisal4 金属材料Metal Materials5 无机材料Inorganic Materials6 有机材料Organic Materials7 复合材料Composite Materials8 天然材料Natural Materials9 加工材料Processing Materials1 0 人造材料Artificial Materials1 1 黑色金属Ferrous Metal1 2 有色金属Nonferrous Metal13 轻金属材料Light Metal Materials14 辅助非铁金属材料By player Nonferrous Metal Materials15 高熔点金属材料High Melting Point Metal Materials16 贵金属材料Precious Metal Materials17 辅助非铁金属材料By player Nonferrous Metal Materials18 高熔点金属材料High Melting Point Metal Materials19 贵金属材料Precious Metal Materials20 陶瓷Ceramics21 水泥Cement22 搪瓷、珐琅Enamel23 玻璃Glass25 钢化玻璃toughened Glass26 感光玻璃Photosensitive Glass27 玻璃纤维Glass Fiber28 耐热玻璃Hear Resisting Glass29 塑料Plastics30 通用塑料Wide Plastics31 工程塑料Engineering Plastics32 热塑性树脂Thermoplastic Resin33 热固性树脂Thermosetting Resin34 橡胶Rubber35 粘接剂Adhesives36 涂料Paints37 树脂Resin38 聚合物Polymer39 聚丙烯树脂Polypropylene40 聚乙烯树脂Polyethylene Resin41 聚苯乙烯树脂Polystyrene Resin42 聚氯乙烯树脂Polyvinyl Chloride Resin43 丙烯酸树脂Methyl Methacrylate Resin44 聚烯胺树脂,尼龙Polyamide Resin45 氟化乙烯树脂Polyfurol Resin46 聚缩醛树脂Polyacetal Resin47 聚碳酸脂树脂Polycarbonate Resin48 聚偏二氯乙烯树脂Polyvinylidene Resin49 聚醋酸乙烯脂树脂Polyvinyl Acetate Resin50 聚烯亚胺树脂Polyimide Resin51 酚醛树脂Phenolic Formaldehyde Resin52 尿素树脂Urea Formaldehyde Resin53 聚酯树脂Polyester Resin54 环痒树脂Epoxy Resin55 烯丙基树脂Allyl Resin56 硅树脂Silicone Resin57 聚氨酯树脂Polyurethane Resin58 密胺Melamine Formaldehyde Resin59 ABS 树脂Acrylonitrile Butadiene Styrene Redin60 感光树脂Photosensition Plastics61 纤维强化树脂Fiber Reinforced Plastic62 印刷油墨Printing Ink63 印刷用纸Printing Paper64 铜板纸Art Paper65 木材Wood66 竹材Bamboo67 树脂装饰板Decorative Sheet68 蜂窝机制板Honey Comb Core Panel69 胶合板Veneer70 曲木Bent Wood71 浸蜡纸Waxed Paper72 青铜Bronze73 薄壳结构Shell Construction74 技术Technique75 工具Tool76 金工Metal Work77 铸造Casting78 切削加工Cutting79 压力加工Plastic Working80 压力加工Plastic Working81 焊接Welding82 板金工Sheet metal Work83 马赛克Mosaic84 塑性成型Plastic Working85 灌浆成型Slip Casting86 挤出成型Squeezing87 注压成型Injection Molding88 加压成型Pressing89 水压成型Cold Isostatic Pressing90 加压烧结法Hot Pressing91 HIP 成型Hot Isostatic Pressing92 压缩成型Compression Molding Pressing93 气压成型Blow Molding94 压延成型Calendering95 转送成型Transfer Molding96 雌雄成型Slash Molding97 铸塑成型Casting98 喷涂成型Spray Up99 层积成型Laminating100 FW 法Fillament Winding101 粘接与剥离Adhesion and Excoriation 102 木材工艺Woodcraft103 竹材工艺Bamboo Work104 表面技术Surface Technology105 镀饰Plating106 涂饰Coating107 电化铝Alumite108 烫金Hot Stamping109 预制作Prefabrication110 预制住宅Prefabricated House111 悬臂梁Cantilever112 金属模具Mold113 型板造型Modeling of Teplate114 染料Dyestuff115 颜料Artist Color传播与传媒设计(英)1 传播Communication2 大众传播Mass Communication3 媒体Media4 大众传播媒体Mass Media5 视觉传播Visual Communication6 听觉传播Hearing Communication7 信息Information8 符号Sign9 视觉符号Visual Sign10 图形符号Graphic Symbol11 符号论Semiotic12 象征Symbol13 象征标志Symbol Mark14 音响设计Acoustic Design15 听觉设计Auditory Design16 听觉传播设计Auditory Communication Design17 图象设计Visual Communication Design18 视觉设计Visual Design19 视觉传播设计Visual Communication Design20 图形设计Graphic Design21 编辑设计Editorial Design22 版面设计Layout23 字体设计Lettering24 CI 设计Corporate Identity Design25 宣传Propaganda26 广告Advertising27 广告委托人Advertiser28 广告代理业Advertising Agency29 广告媒体Advertising Media30 广告目的Advertising Objectives31 广告伦理Morality of Advertising32 广告法规Law of Advertising33 广告计划Advertising Plan34 广告效果Advertising Effect35 广告文案Advertising Copy36 广告摄影Advertising Photography37 说明广告Informative Advertising38 招贴画海报Poster39 招牌Sign-board40 小型宣传册Pamphlet。

化妆品说明书翻译

化妆品说明书翻译

多用不完整句
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Deconfinement and color superconductivity in cold neutron stars

Deconfinement and color superconductivity in cold neutron stars

a r X i v :a s t r o -p h /0504564v 2 15 S e p 2005Deconfinement and color superconductivity in cold neutron starsG.Lugones ∗and I.Bombaci †Dipartimento di Fisica “Enrico Fermi”Universit`a di Pisa and INFN Sezione di Pisa,Largo Bruno Pontecorvo 3,56127Pisa,Italy We study the deconfinement transition of hadronic matter into quark matter in neutron star conditions in the light of color superconductivity.Deconfinement is considered to be a first order phase transition that conserves color and flavor.It gives a short-lived (τ∼τweak )transitory colorless-quark-phase that is not in β-equilibrium.We deduce the equations governing deconfinement when quark pairing is allowed and find the regions of the parameter space (pairing gap ∆versus bag constant B )where deconfinement is possible inside cold neutron stars.We show that for a wide region of (B,∆)a pairing pattern is reachable within a strong interaction timescale,and the resulting “2SC-like”phase is preferred energetically to the unpaired phase.We also show that although β-stable hybrid star configurations are known to be possible for a wide region of the (B,∆)-space,many of these configurations could not form in practice because deconfinement is forbidden,i.e.the here studied non-β-stable intermediate state cannot be reached.I.INTRODUCTIONA general feature of degenerate Fermi systems is that they become unstable if there exist any attractive inter-action at the Fermi surface.As recognized by Bardeen,Cooper and Schrieffer (BCS)[1]this instability leads to the formation of a condensate of Cooper pairs and the appearance of superconductivity.In QCD any attractive quark-quark interaction will lead to pairing and color su-perconductivity,a subject already addressed in the late 1970s and early 1980s [2,3]which came back a few years ago since the realization that the typical superconducting gaps in quark matter may be larger than those predicted in these early works (∆as high as ∼100MeV)[4].The phase diagram of QCD has been analyzed in the light of color superconductivity and model calculations suggest that the phase structure is very rich at high densities.Depending on the number of flavors,the quark masses,the interaction channels,and other variables many possi-ble β-stable color superconducting phases of quark mat-ter are possible [5,6,7,8,9].There is at present some indication that the quark gluon plasma might have been produced in laboratory [10].However,it is not yet established whether decon-finement happens in nature in the high density,low tem-perature regime that is relevant for neutron stars.Un-fortunately,first principle calculations are not available in this region of the QCD phase diagram.In turn we shall base our analysis on phenomenological considera-tions which could delineate at least a broad brush pic-ture of the physics involved.Matter in compact stars should be electrically neutral and colorless in bulk.Also,any equilibrium configuration of such matter should re-main in β-equilibrium.Satisfying these requirements im-pose nontrivial relations between the chemical potentials of different quarks.Moreover,such relationssubstan-2analyzed.To the best of our knowledge,all previous works about color superconductivity in compact stars have dealt with matter in β-equilibrium.This is the situation expected to appear in strange stars or hybrid stars as soon as they set-tle in a stable configuration.However,during the decon-finement transition in neutron stars,matter is transito-rily out of equilibrium with respect to weak interactions.In fact,the transition from β-stable hadron matter to quark matter in cold neutron stars should occur trough a quantum nucleation process [12,13,15,16,17,18].Quantum fluctuations could form bothvirtual drops of unpaired quark matter (hereafter the Q ∗unp phase)or vir-tual drops of color-superconducting quark matter (Q ∗∆phase).In both cases,the flavor content of the quark matter virtual drop must be equal to that of the confined β-stable hadronic phase at the same pressure (the central pressure of the hadronic star).In fact,since quark decon-finement and quark-quark pairing are due to the stronginteraction,the oscillation time ν−10of a virtual quark droplet in the potential energy barrier separating the hadronic from the quark phase,is of the same order of the strong interaction characteristic time (τstrong ∼10−23s).The latter is many orders of magnitude smaller than the weak interaction characteristic time (τweak ∼10−8s).Thus,quark flavor must be conserved forming a virtual drop of quark matter [17,18,19,20,21].Which one ofthe two kind of droplets (Q ∗unp or Q ∗∆)will nucleate de-pends on the value of the corresponding Gibbs free energy per baryon (g unp ,g ∆).In fact,the latter quantity enters in the expression of the volume term of the energy barrier separating the confined and deconfined phases (see e.g.eq.(7)in [18],where the Gibbs free energy per baryon is denoted by µi ,i =Q ∗,H ).Clearly,when g ∆<g unp the nucleation of a Q ∗∆drop will be realized.The direct formation by quantum fluctuations of a drop of β-stable quark matter (Q phase)is also possi-ble in principle.However,it is strongly suppressed with respect to the formation of the non β-stable drop by afactor ∼G 2N/3Fermi being N the number of particles in the critical size quark drop.This is so because the formation of a β-stable drop will imply the almost simultaneous conversion of ∼N/3up and down quarks into strange quarks.For a critical size β-stable nugget at the center of a neutron star it is found N ∼100−1000,and there-fore the factor is actually tiny.This is the same reason that impedes that an iron nucleus converts into a drop of strange quark matter,even in the case in which strange quark matter had a lower energy per baryon (Bodmer-Witten-Terazawa hypothesis).Because of this reason it is assumed that a direct transition to β-stable quark mat-ter is not possible [33].Therefore,the β-stable state Q could be reached only after the β-decay of the interme-diate state Q ∗.This is in agreement with many other previous works,see e.g.[17,18,19,20,21].In this context,one question addressed by the present work is whether the system settles in a paired or in an un-paired state just after the deconfinement.On the otherhand,notice that although the above mentioned non-β-stable quark phase is very short-lived,it constitutes an unavoidable intermediate state that must be reached be-fore arriving to the final β-stable configuration,e.g.CFL quark matter (c.f.[22,23]).The second question we shall address is whether this intermediate phase can eventually preclude the transition to the final β-stable state in spite of the latter having a lower energy.This is because the Q -phase can be formed only after the nucleation of a real(i.e critical size)drop of Q ∗unp or Q ∗∆matter,and its sub-sequent “long term”(t ∼τweak ∼10−8s)weak decay process.II.DECONFINEMENT OF HADRONIC MATTER INTO COLOR SUPERCONDUCTINGQUARK MATTERGiven the uncertainties in the nature of matter at high densities,the analysis is based on the extrapolation to higher densities of an hadronic model valid around the nuclear saturation density ρ0,and the extrapolation to ρ0of a quark model that is expected to be valid only for ρ→∞.Within this kind of analysis the (in general)dif-ferent functional form of both EOSs,induces the phase transition to be first order.Notice that from lattice QCD calculations there are indications that the transition is ac-tually first order in the high-density and low-temperature regime,although this calculations involve temperatures that are still larger than those in neutron stars,and do not include the effect of color superconductivity [26].Deconfinement is analyzed here as a first order phase transition that conserves the flavor abundances in both phases.Therefore,it gives a transitory colorless-quark-phase that is not in β-equilibrium.For describing the just deconfined quark phase we shall model it as a free Fermi mixture of quarks and leptons and we will subtract the pairing and the vacuum energy.The thermodynamic potential can be written asΩ=Ωfree Q +ΩgapQ +ΩL +B,(1)withΩfree Q=f,c1π2∆2¯µ2,(3)3PressureG i b b s e n e r g y p e r p a r t i c l e G / n BFIG.1:Schematic comparison of the free energy of hadronic matter (H ),non-β-stable ”just-deconfined”matter (Q ∗),and β-stable quark matter (Q )for different cases.In the case of panel a)the transition can never occur inside neutron stars in spite of the final state (Q)having a lower energy per baryon.As explained in the text,a direct transition to Q is strongly suppressed.Since Q ∗has a larger energy per baryon than H for all pressures below the central pressure of the maximummass hadronic star (P maxc ),deconfinement cannot occur even if the Q phase has a lower energy.In panels b)and c)the phase Q ∗has a lower energy per baryon than H for somepressures below (P maxc ).Therefore,deconfinement is possibleif pressures between P 0and P maxc are reached inside a given neutron star.The difference between panels b)and c)is the energy per particle at zero pressure (indicated with a dot for Q and with an asterisk for H ).In b)quark stars are the so called strange stars,because they can be made up of quark matter from the center up to the surface (P=0).In case c)they are hybrid stars,because at zero pressure H has a lower energy than Q .For a fixed hadronic equation of state,these possibilities correspond to different values of the parameters of the quark model (the vacuum energy density B and the superconducting gap ∆).which results from E cf =3π2+2A3π2(5)for quarks that do not pair.The number density of each flavor in the quark phase is given byn f =cn fc ,(6)and the baryon number density n B byn B =13 cn c =14Y H f=Y Qff=u,d,s,L(8)being Y H f≡n H f/n H B and Y Q i≡n Qf /n Q B the abundancesof each particle in the hadron and quark phase respec-tively(we shall omit the super-indexes H and Q in the following).In other words,the just deconfined quark phase must have the same“flavor”composition than the β-stable hadronic phase from which it originated. Additionally,the deconfined phase must be locally col-orless;therefore,it must be composed by an equal num-ber or red,green and blue quarks:n r=n g=n b(9) being n r,n g and n b the number densities of red,green and blue quarks respectively,given by:n c= f n fc.(10) Color neutrality can be automatically fulfilled by im-posing that eachflavor must be colorless separately,i.e. n ur=n ug=n ub,n dr=n dg=n db,and n sr=n sg=n sb. But in general this configuration will not allow pairing with a significant gap.As already stated,for quarks hav-ing different color andflavor the pairing gap may be as large as100MeV,while for particles having the same flavor the gap is found to be about two orders of magni-tude smaller(see[25]and references therein).Pairing is allowed even in the caseδµ>∆but the corresponding gaps are small[6,28].Therefore,in order to allow pair-ing between quarks with a non negligible gap,the Fermi momenta of at least u r and d g quarks must be equal(the choice of these two particular colors andflavors is just a convention).This implies the equality of the correspond-ing number densitiesn ur=n dg.(11) The above condition represents a state that fulfills all the physical requirements of the deconfined phase(e.g.is color and electrically neutral),and should be the actual state(forτ≪τweak)if it has the lowest free energy per baryon.Energy must be paid in order to equal at least two Fermi seas,but in compensation the pairing energy is recovered.The gained energy depends on the value of the pairing gap∆and,at least for sufficiently large∆, is expected to be larger than the energy invested to force a pairing pattern.Also,notice that color conversion of quarks allows the adjustment of the Fermi seas within a givenflavor in a very short timescale(∼τstrong),i.e. several orders of magnitude faster thanβ-equilibration (τstrong≪τweak).We emphasize that this phase is not inflavor equilib-rium.After a weak interaction timescale this transitorypaireddbdgdrubugurncfunpaireddrdbdgubugurncf010*******-40-2020406080B = 100 MeV fm-3∆ = 150∆ = 100∆ = 50∆ = 0g∆-gunp[MeV/particle]P [MeV fm-3]FIG.2:Deconfinement of pure neutron matter.Upper panel: Sketch of the lowest energy configuration of the paired and un-paired phases just after the deconfinement.Lower panel:The difference in the Gibbs energy per particle between paired and unpaired quark matter.For positive values of g∆−g unp the preferred phase just after the deconfinement is the unpaired one while for negative values it is the paired one.pairing pattern will be abandoned by the system in favor of the lowest-energyβ-stable configuration.Depending on the density,the lowest energy state may be LOFF, gapless2SC,gapless CFL,standard CFL,(to name just some possibilities)as extensively discussed in the litera-ture.III.APPLICATION TO SIMPLIFIEDEQUATIONS OF STATEA.Deconfinement of pure neutron matterA simple solution can be found in the case of the de-confinement of pure neutron matter,since strange quarks and electrons are not present in the hadronic gas.First, we apply the colorless conditions andflavor conserva-tion introduced in the previous section,in order deter-mine the abundances of each quark species.In order to allow pairing of at least two different quarks species in the just deconfined phase,we impose the condition of Eq.(11),i.e.n ur=n ing one of the color-5 less conditions(n r=n g)it is found that n dr=n ug,implying that these quarks can also pair with a sig-nificant gap.From the remaining colorless condition(n r=n b)it is found n ur+n dr=n ub+n db.The con-dition offlavor conservation states n d=2n u;therefore,n dr+n dg+n db=2(n ur+n ug+n ub).Introducing theratio x=n ug/n ur wefind from the above equations:n ub=0(12)n db12π2(1+x2/3)∆2µ2ur+.(18)1+xMinimizing g∆=g∆(P∆,x)with respect to x it is foundthat the minimum correspond to x= 1.Therefore,quarks u r−d g and u g−d r pair in a“2SC-like”patternlike the one shown in Fig.2.In order to determine whether the system settles in apaired or in an unpaired configuration we compare theGibbs free energy per baryon of the above configurationwith the Gibbs free energy per baryon of an unpairedquark gas(both evaluated at the same pressure,and withthe sameflavor composition).For unpaired quark mat-ter the ground state of the colorless mixture(compatiblewithflavor conservation)is shown in Fig.2,and is de-scribed by n dr=n dg=n db=2n ur=2n ug=2n ub=26 conservation in the following simple formn d=ξn u,(20)beingξ≡Y H d/Y H u(c.f Eq(8)).In the case of the n-p-e−gas,the parameterξcan be expressed in terms of the proton fraction Y p=n p/n B of nuclear matter as ξ=(2−Y p)/(1+Y p).It is easy to check thatξ=2 corresponds to the deconfinement of pure neutron mat-ter,ξ=1to symmetric nuclear matter andξ=0.5to the unrealistic case of pure proton matter.We emphasize that in the case ofβ-stable n-p-e−system,ξis a function of density(or pressure)that depends only on the state of the hadronic matter that deconfines.Therefore,flavor conservation states that n dr+n dg+ n db=ξ(n ur+n ug+n ub).In addition,the condition of Eq.(8)applied to electrons yields:3n e=2n u−n d,(21) which confirms thatflavor conservation automatically guarantees electric charge conservation.Finally,we im-pose that1)n dr=n ug in order to allow for paring be-tween quarks d r with u g,and2)n ur=n dg in order to allow for paring between quarks u r with d g. Introducing the ratio x=n ug/n ur,and using Eqs.(20)and(21)wefind the particle number densities of eachflavor and color in the paired phase as a function of one of the particle densities(e.g.n ur),the parameter ξthat depends only of the state of the hadronic phase, and the free parameter x:n ug=x n ur(22)n ub=(1+x)2−ξ1+ξn ur(26)Note that the free parameter x that can be elimi-nated by minimizing the Gibbs energy per baryon g∆= ( fc n fcµfc+µe n e)/n B with respect to x at constant pressure P∆.The minimization gives x=1,which means that the configuration of the paired phase that is energet-ically preferred is the one having n dr=n ug=n ur=n dg, as sketched in the upper panel of Fig. 2.In Fig.3we compare the Gibbs energy per baryon of the“2SC-like”paired phase and unpaired matter for different values of the bag constant B and the pairing gap∆.Compar-ing with the pure neutron matter case of Fig.2it can be noticed that an increase in the proton fraction of the hadronic phase favors the formation of a paired quark phase after deconfinement.ncfsbsgsrunpaireddrdbdgubugurncfsbsgsrpaireddbdgdrubugur010*******-20-10102030ξ = 1.6∆ = 50∆ = 100∆ = 0η = 0.3g∆-gunp[MeV/particle]P [MeV fm-3]FIG.4:Deconfinement ofβ-stable hadronic matter including strange hadrons.Upper panel:Sketch of the particle num-ber configuration just after deconfinement.The most general paired configuration compatible with the condition n ur=n dg, n ug=n dr,flavor conservation,and charge neutrality is the one sketched here.Lower panel:The difference in the Gibbs energy per baryon between both phases.For positive values of g∆−g unp the preferred phase just after the deconfinement is the unpaired one while for negative values it is the paired one. The curves correspond to B=60MeV fm−3(dashed line), B=100MeV fm−3(solid line),and B=140MeV fm−3 (doted line).We employed m s=150MeV.IV.DECONFINEMENT OF COLD HADRONICMATTERIn the following we analyze the deconfinement of a gen-eral hadronic system including strange hadrons and then we apply the results to a realistic EOS in order to study deconfinement inside cold neutron stars.A.Deconfinement of a general hadronic equationof state•Flavor conservation:After deconfinement the parti-cle densities of quarks u,d and s are the same as in the hadronic phase and can be determined by Eqs.(8).An-other equivalent way of expressing theflavor conservation7condition is in terms of two parametersξandη:n d=ξn u.(27)n s=ηn u.(28) whereξ≡Y H d/Y H u andη≡Y H s/Y H u depend only on the composition of the hadronic phase.These expressions are valid for any hadronic EOS.For hadronic matter contain-ing n,p,Λ,Σ+,Σ0,Σ−,Ξ−,andΞ0,we haveξ=n p+2n n+nΛ+nΣ0+2nΣ−+nΞ−2n p+n n+nΛ+2nΣ++nΣ0+nΞ0.(30)As typical values,we notice thatη=0corresponds to zero strangeness,and that at the center of the maxi-mum mass star(calculated with the hadronic equation of state of Glendenning and Moszkowski GM1[31])we haveξ=1.15andη=0.85.Notice thatξandηdeter-mine univocally the number of electrons present in the system through electric charge neutrality of the decon-fined phase:3n e=2n u−n d−n s.(31)•Pairing condition:As made in the previous section for the n-p-e−gas,we impose that1)n dr=n ug in order to allow for paring between quarks d r with u g,and2) n ur=n dg in order to allow for paring between quarks u r with d g.•Color neutrality:The condition n r=n g leads immediately to n sr=n sg.Also,n r=n b leads to 2n ur+n sr=n ub+n db+n sb.The above conditions lead to the pairing pattern schematically shown in the upper panel of Fig.4.Note that these conditions still leave a degree of freedom that can befixed by introducing an additional parameter h relating the particle number densities of two arbitrary quark species.Therefore,it is possible to impose the equality of two arbitrary Fermi seas in order to allow pairing between them.We have analyzed the10possible combinations and verified that6of them lead to a nega-tive value of the particle number density of at least one quark species.The other4possibilities allow pairing of particles that don’t have different color andflavor,allow-ing pairing with a negligible gap.For this reason,it is more convenient to introduce h≡n sb/n sr,and minimize the free energy with respect to h.Using the above Eqs.wefind the following linear set of equations:2n ur+n sr=n ub+n db+n sb(32)2n ur+n db=ξ(2n ur+n ub)(33)2n sr+h n sr=η(2n ur+n ub),(34)from which we obtain the number densities of each quark species in the paired phase as functions of only four quan-tities:n ub=24+η+2h−ηh−2ξ−hξ2−η+h+ηh+2ξ+hξn ur(36) n sb=6ηh2−η+h+ηh+2ξ+hξn ur(38) n e=2(2+h)(2−η−ξ)12π2+µ4eπ2¯µ2∆2−B,(40) g∆= fc n fcµfc n B,(41)where k fc=(µ2fc−m2fc)1/2,¯µ=µur,the chemical po-tentialsµfc are obtained fromn fc=µ3fcπ2f c=u r,u g,d r,d g(42)µfc=(3π2n fc)1/3f c=u b,d b(43)µfc=[(3π2n fc)2/3+m2s]1/2f c=s r,s g,s b(44) The minimization of g∆with respect to h gives h= 1and therefore the number densities are given by the following equations:n ub=4−2ξ1+ξn ur(46)n sb=2η1+ξn ur.(48)with n ug=n dr=n dg=n ur and n sg=n sr=n sb. Equations(40)-(48)constitute the equations of state for just deconfined quark matter.In the lower panel of Fig. 4we show∆g for particular values of the parameters (ξ=1.6,η=0.3).8∆ [M e V f m -3]B [Mev fm -3]FIG.5:The cparameter space ∆vs.B indicating the re-gions for which deconfinement is possible inside the maximum mass neutron star with the GM1EOS [31](M max =1.8M ⊙).We also indicate whether the final state reached after β-equilibration of the just-deconfined phase has energy per baryon less or greater than the neutron mass (i.e.leads to the formation of strange stars or hybrid stars respectively).We adopted m s =150MeV for the strange quark mass.If (B,∆)fall inside the dashed region,deconfinement is not pos-sible even at the center of the maximum-mass star with this EOS.For (B,∆)inside the grey region the just-deconfined unpaired phase has always less energy per baryon than the just-deconfined paired phase.For (B,∆)in the white region the just-deconfined phase is always paired quark matter.The regions met at a point of coordinates (B ∗,∆∗)indicated with an asterisk and shown in Table I for different values of the strange quark mass m s .The maximum of the grey region is indicated with a dot,and the corresponding value ∆max is shown in Table I for different m s .032334781003003780150275498520024168979the maximum of the grey region(which is the same in Figs.5and6)and give the corresponding value∆max in Table I.We have also included in the parameter space the curve separating the regions in whichβ-stable quark matter has an energy per baryon smaller than the neutron mass from the region in whichǫ/n B(P=0)>m n(for simplicity, pairedβ-stable quark matter is assumed in all cases to be CFL).To the left of this curve thefinal state after β-equilibration is absolutely stable quark matter leading to the formation of strange stars.To the right,β-stable quark matter is restricted to the core of neutron stars (hybrid stars).The position of this curve also depends on the value of m s.In Figs.5and6it is shown for m s=150MeV(for more details the reader is refereed to [29]).V.DISCUSSIONIn this paper we have analyzed the deconfinement tran-sition from hadronic matter to quark matter,and investi-gated the role of color superconductivity in this process. We have deduced the equations governing deconfinement when quark pairing is allowed and,employing a realis-tic equation of state for hadronic matter,we have found the regions of the parameter space B versus∆where the deconfinement transition is possible inside neutron stars. The main results are shown in Figs.5and6and were explained in the last section.In the following we discuss some implications for neutron star structure.Stars containing quark phases fall into two main classes:hybrid stars(where quark matter is restricted to the core)and strange stars(made up completely by quark matter).This structural characteristic depends on whether the energy per baryon ofβ-equilibrated quark matter at zero pressure and zero temperature is less than the neutron mass(the so called“absolute stability”con-dition).In the absence of pairing,quark matter inβ-equilibrium has an energy per baryon(at P=0)smaller than the neutron mass only if B is in the range57MeV fm−3<∼B<∼90MeV fm−3.Within this range of B, unpairedβ-stable quark matter is the so called strange quark matter,and it is possible the existence of stars made up entirely by the quark phase.For B>∼90MeV fm−3unpairedβ-stable quark matter at P=0and T=0 decays into hadrons,and therefore it can be present only in the core of neutron stars.The size of the core(if any) depends on the value of B:the larger the value of B, the smaller the size of the quark matter core(for a given neutron star mass).Pairing enlarges substantially the region of the param-eter space whereβ-stable quark matter has an energy per baryon smaller than the neutron mass[29,30].Al-though the gap effect does not dominate the energetics, being of the order(∆/µ)2∼a few percent,the effect is substantially large near the zero-pressure point(which determines the stability and also the properties of the outer layers and surface of the star).As a consequence,a “CFL strange matter”is allowed for the same parameters that would otherwise produce unbound strange matter without pairing[29].The line separating strange mat-ter from non-absolutely stable quark matter is shown in dotted line in Figs.5and6,according to[29]. Concerning just deconfined quark matter(i.e.not in β-equilibrium)it has been already shown that the transi-tion to unpaired quark matter is not possible in a1.6M⊙neutron star if the Bag constant is B>∼126MeV fm−3, because the transition pressure is never reached inside the star,even in the proto-neutron star phase[21].The results when pairing is allowed have been shown in the previous section,where we have shown the“deconfine-ment”parameter space for the maximum mass neutron star with the GM1EOS(1.8M⊙),and for a1.6M⊙neutron star.As it is evident from Figs.5and6,de-confinement is facilitated for large∆(i.e.it is possible for a larger range of B).This result can be roughly un-derstood if we think paired matter as unpaired matter with an effective bag constant depending on the chemi-cal potential(or on density):B eff(∆,µ)=B−A10pairs(B,∆)fall comfortably inside the dashed region of Fig.6where deconfinement is not allowed.For the same value of B,heavier stars(∼1.8M⊙)could deconfine, since(B,∆)would be inside the grey region of Fig.5, but the resulting configuration would be not structurally stable and would form a black hole(c.f.[32]).Although the EOSs are different in[32]and in the present work, this should not affect this generic trend.Notice that qualitatively similar results have been found in[18,21] for unpaired quark matter.A stated in the Introduction,the transition from nu-clear matter to quark matter proceeds by bubble nucle-ation.However,notice that for largeB the results with typical surface tensionσ=10−30MeVfm−2do not dif-fer much from the case in bulk[17,18].This means that we don’t expect that the dashed region of Figs.5and 6will change significantly when including surface effects.Anyway,even if the surface tension were very large,the here presented bulk case is still relevant because it gives a lower limit for the transition:i.e.,if deconfinement is not possible in bulk,it will be even more difficult when including surface effects.In other words,the dashed line of Figs.5and6could move to the left in a more re-fined study,but not to the right.A complete study of the astrophysical implications is in progress and will be published elsewhere.VI.ACKNOWLEDGEMENTSG.L.wants to thank FAPESP for support during an early phase of this work.We thank Jorge Horvath and Ettore Vicari for stimulating discussions.[1]J.Bardeen,L.N.Cooper and J.R.Schrieffer,Phys.Rev.108,1175(1957).[2]B.Barrois,Nucl.Phys.B129,390(1977)[3]D.Bailin and A.Love,Phys.Rep.107,325(1984),andreferences therein.[4]M.G.Alford,K.Rajagopal and F.Wilczek,Phys.Lett.B422,247(1998);R.Rapp,T.Sch¨a fer,E.V.Shuryak and M.Velkovsky,Phys.Rev.Lett.81,53(1998);M.G.Alford,Ann.Rev.Nucl.Part.Sci.51,131(2001). [5]M.G.Alford,K.Rajagopal,S.Reddy and F.Wilczek,Phys.Rev.D64,074017(2001).[6]M.Huang and I.Shovkovy,hep-ph/0311155and refer-ences therein.[7]K.Rajagopal and F.Wilczek,hep-ph/0011333[8]S.B.Ruester,I.A.Shovkovy,D.H.Rischke,Nucl.Phys.A743(2004)127-146[9]G.Nardulli,Riv.Nuovo Cimento25,1(2002)[10]M.Gyulassy and L.McLerran,Nucl.Phys.A750,30-63(2005);E.Shuryak,J.Phys.G30,S1221(2004) [11]I. A.Shovkovy,S. B.R¨u ster and D.H.Rischke,arXiv:nucl-th/0411040(2004)[12]I.M.Lifshitz and Y.Kagan,Soviet Phys.JETP35,206(1972)[13]C.Alcock,E.Farhi,and A.Olinto,Astrophys.J.310,261(1986)[14]J.E.Horvath and H.Vucetich,Phys.Rev.D59,023003(1998)[15]J.E.Horvath,Phys.Rev.D49,5590(1994)[16]F.Grassi,Astrophys.J.492,263(1998)[17]K.Iida and K.Sato,Phys.Rev.D58,2538(1998)[18]I.Bombaci,I.Parenti,I.Vida˜n a,Astrophys.J.614,314(2004)[17,18,19,20,21][19]M.L.Olesen and J.Madsen,Phys.Rev.D49,2698(1994)[20]G.Lugones and O.G.Benvenuto,Phys.Rev.D58,083001(1998)[21]O.G.Benvenuto and G.Lugones,Mon.Not.R.A.S.304,L25(1999)[22]Z.Berezhiani,I.Bombaci,A.Drago,F.Frontera and A.Lavagno;Astrophys.J.586,1250(2003).[23]A.Drago,vagno and G.Pagliara;Phys.Rev.D69,057505(2004)[24]E.J.Ferrer,V.de la Incera and C.Manuel,e-PrintArchive:hep-ph/0503162[25]M.Alford and K.Rajagopal,JHEP06,031(2002)[26]F.Csikor,G.I.Egri,Z.Fodor,S.D.Katz,K.K.Szab´o,A.I.T´o th,JHEP0405,046(2004)and references therein.[27]see M.Buballa,hep-ph/0402234and references therein.[28]I.Shovkovy and M.Huang,Phys.Lett.B564,205(2003)[29]G.Lugones and J.E.Horvath,Phys.Rev.D66,074017(2002)[30]G.Lugones and J.E.Horvath,Astronomy and Astro-physics,403,173(2003)[31]N.K.Glendenning and S.A.Moszkowski,Phys.Rev.Lett.67,2414(1991).[32]M.Alford and S.Reddy,Phys.Rev.D67,074024(2003)[33]Notice that the nucleation of an initial quark dropletmight be induced in principle by external influences such as high energy cosmic rays or neutrinos[13].However,es-timates of the production rates of quark droplets by neu-trino sparking[14]show that this mechanism is not likely to drive a neutron to quark conversion for realistic values of the minimum center of mass energy necessary to pro-duce a quark-gluon plasma in heavy ion collisions.Ultra high energy neutrinos would be also harmless because the outer crust acts as a shield due to the huge cross section[14].In this paper we are assuming that the conversionmust proceed trough an intermediate“twoflavor”phase, but other possibilities cannot be definitely excluded.。

色彩搭配方法英语作文高中

色彩搭配方法英语作文高中

色彩搭配方法英语作文高中Title: The Art of Color Coordination。

Color coordination is an art form that influences various aspects of our lives, from fashion to interior design, and even to the aesthetics of digital platforms. Mastering the principles of color harmony can transform the mundane into the extraordinary, creating visually stunning compositions that captivate the senses. In this essay, we will explore the significance of color coordination and delve into various methods employed to achieve harmonious color schemes.First and foremost, understanding the color wheel is essential in mastering color coordination. The color wheel is a visual representation of the relationships between colors, showcasing primary, secondary, and tertiary hues. By familiarizing oneself with the color wheel, individuals can discern complementary, analogous, and triadic color schemes, laying the foundation for successful colorcoordination.One popular method of color coordination is the complementary color scheme, which involves pairing colors that are opposite each other on the color wheel. For example, combining blue and orange or red and green creates a vibrant and visually striking contrast. This method adds depth and energy to compositions, making elements stand out while maintaining balance.On the other hand, analogous color schemes involve selecting colors that are adjacent to each other on the color wheel. For instance, combining shades of blue, green, and turquoise creates a harmonious and soothing palette. Analogous color schemes are often used in interior design to evoke a sense of cohesion and tranquility, making spaces feel more inviting and unified.Additionally, triadic color schemes involve selecting three colors that are evenly spaced around the color wheel. This method creates a balanced and dynamic composition, offering a diverse range of hues without overwhelming theviewer. For instance, combining red, yellow, and blue produces a bold and lively palette that appeals to the senses.Furthermore, understanding the psychological effects of color is crucial in effective color coordination. Different colors evoke various emotions and perceptions, influencing how individuals interpret and interact with their surroundings. For example, warm colors like red and yellow are associated with energy and warmth, while cool colorslike blue and green evoke feelings of calmness and serenity. By strategically incorporating these colors into compositions, individuals can evoke specific moods and emotions, enhancing the overall impact of their designs.Moreover, cultural and societal influences play a significant role in color coordination. Certain colors hold symbolic meanings and cultural significance, varying across different regions and traditions. For example, in Western cultures, white is often associated with purity and innocence, while in Eastern cultures, it symbolizes mourning and funerals. Understanding these cultural nuancesis essential in creating culturally sensitive andmeaningful designs that resonate with diverse audiences.In conclusion, color coordination is a multifaceted art form that requires a deep understanding of color theory, psychology, and cultural context. By mastering theprinciples of the color wheel and exploring various color schemes, individuals can create visually stunning compositions that evoke emotions, convey messages, and captivate audiences. Whether it's designing a fashion collection, decorating a room, or crafting digital graphics, color coordination is a powerful tool that can elevate any creative endeavor to new heights of excellence.。

中国传统颜色中的暖色调 英文

中国传统颜色中的暖色调 英文

中国传统颜色中的暖色调英文In the vast palette of Chinese traditional colors, warm hues occupy a prominent position, reflecting not just aesthetic preferences but also cultural values andhistorical traditions. These colors, often associated with joy, warmth, and prosperity, have been used in various art forms, from painting and calligraphy to architecture and interior design, for centuries.Red, the most prominent warm color in Chinese culture, is synonymous with joy, prosperity, and good fortune. It is the color of festivals, weddings, and other celebrations, often seen in the form of lanterns, paper cuts, and other decorations. Red is also associated with the emperor, symbolizing power and authority. The color's popularity can be traced back to ancient times, when it was believed to scare away evil spirits and bring good luck.Yellow, another significant warm color in Chinese tradition, represents royalty and divinity. It was theexclusive color of the emperor, symbolizing his divineright to rule. Yellow was also associated with the earth, symbolizing fertility and prosperity. In Chinese art, yellow is often used to create a sense of warmth and harmony.Orange, another warm hue, is less prominent in Chinese tradition but still holds significance. It represents sunshine and warmth, bringing a sense of cheerfulness and vitality. Orange is often seen in Chinese landscapes, paintings that depict the beauty of nature and the changing seasons.These warm colors are not just visual treats; they also carry profound cultural meanings. They reflect the Chinese people's belief in the power of color to influence their lives, bring good luck, and promote harmony. The use of these colors in various art forms and daily life is a testament to their enduring popularity and relevance.The warm hues of Chinese traditional colors have a unique charm that transcends cultural barriers. They speak to us of joy, warmth, and prosperity, connecting us to the rich cultural heritage of China. As we delve into the worldof Chinese art and culture, these colors serve as powerful reminders of the beauty and depth of human creativity and imagination.**中国传统暖色调的魅力**在中国传统色彩的广阔调色板中,暖色调占据着显著的地位。

coloruncovered,研究生英语课前presentation,有关你不知道的颜色奥秘,ipad

coloruncovered,研究生英语课前presentation,有关你不知道的颜色奥秘,ipad

EPILOGUE
While,each color has it's own unique quality or attribute. The most important thing in our life is to have a happily and colorful life!
At the time, pigments for colors at the blue and green end of the spectrum were widely expensive, as they could only be made by grinding up gemstones like lapis lazuli (blue) or malachite (green). Other cool pigments were “fugitive”, tending to disappear in a short time if exposed to light. Not good. Rembrandt and others solved the problem of pricey and problematic pigments by using a trick of the eyes. He found that ….
Then, see for yourself, let’s go~~
Believe it or not, there’s not a bit of blue in this painting----nor green, nor any other “cool” color. It’s painted with a color palette of only “warm” colors----yellow, oranges, and reds---and black and white. Knowing as the Renaissance palette, this collection of paint colors was used widely in the 1600s by Renaissance painters, most notably Rembrandt. It wasn’t entirely a matter of choice.

谈对变色的看法英语作文

谈对变色的看法英语作文

谈对变色的看法英语作文As a natural phenomenon, color change is a common occurrence in our daily lives. It can be observed in various forms, such as the changing of leaves in autumn, the color of the sky during sunrise and sunset, and even the change in the color of our skin due to sun exposure. Different people have different views on color change. Some people find it fascinating and beautiful, while others may find it annoying or even alarming. In my opinion, color change is a natural and inevitable process that should be appreciated and understood.Firstly, color change is a natural process that occurs in the environment around us. It is a result of various factors such as temperature, light, and chemical reactions. For example, the changing of leaves in autumn is caused by the decrease in temperature and the decrease in chlorophyll production in the leaves. The color change of the sky during sunrise and sunset is caused by the scattering of light in the atmosphere. Therefore, color change is anatural occurrence that we should appreciate and enjoy.Secondly, color change can also be a sign of health issues or environmental problems. For example, the changein the color of our skin due to sun exposure can be a sign of skin damage or even skin cancer. The change in the color of water in a river can be a sign of pollution. Therefore, color change can also be a warning sign that we should pay attention to and take action to address the underlying issues.Lastly, understanding color change can also help us appreciate the beauty of nature and the complexity of the world around us. By understanding the science behind color change, we can better appreciate the beauty of nature and the intricate processes that occur in our environment. For example, understanding the science behind the changing of leaves in autumn can help us appreciate the beauty of the changing colors and the importance of the changing seasons.In conclusion, color change is a natural and inevitable process that should be appreciated and understood. It is asign of the complexity and beauty of nature, and can also be a warning sign of health or environmental issues. Therefore, we should embrace color change and strive to understand the science behind it.。

英语颜色拓展知识点总结

英语颜色拓展知识点总结

英语颜色拓展知识点总结The Psychological Effects of ColorColor has a powerful effect on our emotions and behavior. It has been studied extensively in the field of psychology, and it is well known that different colors can evoke different emotional responses. For example, red is often associated with passion, energy, and danger, while blue is seen as calming and tranquil. These effects can be seen in a wide range of contexts, from marketing and advertising to interior design and fashion.One of the most well-known theories about color and emotion is the theory of color psychology. This theory suggests that different colors can have different psychological effects on people. For example, warm colors such as red, orange, and yellow are often associated with feelings of warmth, energy, and excitement, while cool colors such as blue, green, and purple are associated with feelings of calmness, serenity, and relaxation.Cultural Meanings of ColorIn addition to its psychological effects, color also has a rich and varied set of cultural meanings. Different cultures have different associations and symbolism for different colors. For example, in Western cultures, white is often associated with purity and innocence, while in some Eastern cultures, it is associated with death and mourning. Similarly, in many cultures, the color red is associated with love and passion, while in others it is seen as a symbol of luck and prosperity.Color also plays a significant role in cultural traditions and symbolism. For example, in many cultures, specific colors are associated with particular holidays or events. In China, the color red is traditionally worn during weddings and is associated with good luck and prosperity, while in India, the color red is often associated with festivals and celebration. Understanding the cultural meanings of color is essential for effective communication and interaction in a globalized world.Scientific Properties of ColorFrom a scientific perspective, color is a fascinating and complex phenomenon. It is inherently linked to the physics of light and the human visual system. The way we perceive color is a result of the interaction between light, the objects we observe, and our eyes and brains. Our perception of color is influenced by the wavelength of the light that is reflected by an object, as well as the way our eyes interpret that light.One of the key concepts in the science of color is the color wheel. This is a visual representation of the relationships between different colors, and it is used in art, design, and science to understand how colors interact with each other. The color wheel is divided into primary, secondary, and tertiary colors, and it helps to illustrate the concept of color harmony and contrast.Another important concept in the science of color is color theory. This is the study of how colors can be combined or mixed to create new colors, and it is essential for artists, designers, and anyone working with color. Color theory involves understanding concepts such as hue, saturation, and value, and how these elements can be combined to create different colors and color combinations.In conclusion, color is a multifaceted and complex aspect of our world. It has psychological, cultural, and scientific dimensions that make it a fascinating subject of study. By understanding the psychological effects of color, the cultural meanings of color, and the scientific properties of color, we can gain a deeper appreciation for the role that color plays in our lives. Whether it is in art, design, marketing, or everyday life, color is a powerful and important aspect of human experience.。

色彩概念英文介绍作文

色彩概念英文介绍作文

色彩概念英文介绍作文英文:Color is a fundamental concept in art and design. It is the visual perception of different wavelengths of light, which our brain processes and interprets as different hues. Colors can evoke emotions and convey meaning, making them an important tool for communication.There are three primary colors: red, blue, and yellow. These colors cannot be created by mixing other colors together. Secondary colors are created by mixing two primary colors together: orange (red + yellow), green (blue + yellow), and purple (red + blue). Tertiary colors are created by mixing a primary color with a secondary color.Color theory is the study of how colors interact with each other and how they can be used effectively in art and design. Complementary colors, which are opposite each other on the color wheel, create a strong contrast when usedtogether. Analogous colors, which are next to each other on the color wheel, create a harmonious and cohesive color scheme.In addition to their aesthetic qualities, colors also have cultural and symbolic meanings. For example, red is often associated with passion and love in Western cultures, while it is a symbol of good luck and prosperity in many Eastern cultures.中文:色彩是艺术和设计中的基本概念。

唇膏颜色英语作文模板初一

唇膏颜色英语作文模板初一

唇膏颜色英语作文模板初一英文回答:The color of lipstick varies greatly, ranging from nude shades to bold reds and everything in between. Some popular lipstick colors include:Nude: A natural-looking shade that closely matches the wearer's skin tone.Pink: A soft, feminine shade that comes in various hues, from pale pink to hot pink.Red: A classic and versatile color that can be both bold and elegant.Coral: A vibrant shade that is perfect for summer and gives a warm, youthful glow.Mauve: A sophisticated shade that combines pink andpurple tones.Brown: A rich and earthy shade that is perfect for creating natural or dramatic looks.中文回答:口红颜色多种多样,从自然色调到大胆的红色,应有尽有。

一些流行的口红颜色包括:裸色,一种自然的外观色调,与佩戴者的肤色非常接近。

粉色,一种柔和、女性化的色调,有各种色调,从浅粉色到热粉。

红色,一种经典且百搭的颜色,既可以大胆也可以优雅。

珊瑚色,一种充满活力的色调,非常适合夏季,并赋予温暖、青春的光泽。

豆沙色,一种成熟的色调,结合了粉红色和紫色调。

棕色,一种浓郁而质朴的色调,非常适合打造自然或戏剧性的妆容。

溶液颜色检查法的英文

溶液颜色检查法的英文

溶液颜色检查法的英文English: The colorimetric method, also known as the solution color check method, is a commonly used technique in chemistry to determine the concentration of a solute in a solution based on the color intensity of the solution. This method relies on the principlethat certain solutes, when present in a solution, exhibit a characteristic color that can be correlated with their concentration.To conduct a colorimetric analysis, a sample of the solution is placed in a cuvette and then inserted into a colorimeter, which measures the intensity of light absorbed by the solution at a specific wavelength.By comparing this absorbance value to a standard curve, which relates absorbance to concentration, the concentration of the solutein the solution can be accurately determined. This method is widely used in various industries, such as pharmaceuticals, food and beverage, and environmental monitoring, due to its simplicity, speed, and cost-effectiveness.中文翻译: 色度法,又称溶液颜色检查法,是化学中常用的一种技术,用于根据溶液的颜色强度来确定溶质的浓度。

微妙色调英语作文

微妙色调英语作文

微妙色调英语作文Title: Delicate Shades: Exploring the Nuances of Color。

In the vast canvas of existence, colors play anintegral role in shaping our perceptions, evoking emotions, and expressing ideas. Among the myriad hues that grace our world, there exists a realm of subtle shades, captivatingin their understated beauty. In this exploration, we delve into the intricate tapestry of delicate tones, uncovering their significance and impact.First and foremost, it's imperative to acknowledge the subjective nature of perception. What may appear as asimple shade to one individual can hold profoundsignificance to another. Take, for instance, the color gray. Often dismissed as mundane, it possesses a quiet elegance, symbolizing neutrality, introspection, and ambiguity. In literature and art, gray serves as a canvas for deeper contemplation, inviting interpretation and introspection.Similarly, pastel colors, with their soft, muted tones, exude a sense of tranquility and serenity. From the gentle blush of a dawn sky to the tender green of new foliage, pastels evoke feelings of freshness and renewal. They represent a delicate balance between vibrancy and subtlety, offering a soothing respite in a world often characterized by chaos and noise.Moreover, the interplay of light and shadow lends depth and complexity to even the most seemingly straightforward colors. Consider the ethereal quality of dusk, as the sun's golden rays gradually fade into twilight. Here, hues merge and meld, blurring the boundaries between day and night, warmth and coolness. It is within this liminal space that we discover the beauty of transitions, where colors subtly shift and evolve with the changing rhythms of nature.Beyond their aesthetic appeal, delicate shades hold symbolic significance across cultures and traditions. In Eastern philosophy, for instance, the concept of yin and yang underscores the importance of balance and harmony. Delicate shades such as lavender, lilac, and peach embodythis principle, embodying the delicate interplay between opposing forces. They remind us of the interconnectedness of all things and the necessity of embracing both light and darkness in our journey towards enlightenment.In the realm of psychology, color theory delves into the psychological effects of different hues on human behavior and emotions. Delicate shades, with their understated presence, have been found to have a calming effect on the mind, promoting relaxation and introspection. In therapeutic settings, they are often used to create tranquil environments conducive to healing and self-reflection.Moreover, the art of color mixing and blending opens up endless possibilities for creativity and expression. Through subtle variations in tone and intensity, artists can imbue their works with depth, movement, and emotion. From the Impressionist masters' delicate brushstrokes to contemporary minimalist compositions, delicate shades serve as a versatile palette for artistic experimentation and innovation.In conclusion, the allure of delicate shades lies not only in their aesthetic appeal but also in their profound capacity to evoke emotions, convey ideas, and spark contemplation. Whether it's the soft blush of a rose petal or the subtle gradations of a misty morning, these nuances of color enrich our lived experience, inviting us to pause, reflect, and find beauty in the fleeting moments of life.。

色彩奥秘英文作文

色彩奥秘英文作文

色彩奥秘英文作文Color is a mysterious thing. It can evoke strong emotions and memories, and it can also change the way we perceive the world around us. Just think about how a bright red can make you feel energized, or how a calming blue can help you relax. Colors have the power to influence our mood and behavior in ways we may not even realize.The study of color psychology is a fascinating field.It explores how different colors can affect our emotions, thoughts, and even our physical well-being. For example, warm colors like red, orange, and yellow are often associated with energy and excitement, while cool colors like blue and green are linked to calmness and relaxation. Understanding the psychology of color can help us create environments that promote certain feelings or behaviors.In art and design, color theory plays a crucial role in creating visually appealing compositions. Artists and designers use the principles of color theory to createharmony, contrast, and balance in their work. By understanding how colors interact with each other, they can create powerful and impactful visuals that capture the viewer's attention and convey a specific message or mood.Color can also be deeply cultural. Different cultures have their own associations and meanings for certain colors. For example, in Western cultures, white is often associated with purity and innocence, while in some Eastern cultures,it is the color of mourning and death. Understanding these cultural differences is important when creating designs or products for a global audience.The science of color is equally intriguing. Colors are simply different wavelengths of light, and our perceptionof color is influenced by how our eyes and brain process these wavelengths. The study of color vision and color blindness has led to many important discoveries about howwe see the world and how we can improve visual experiences for those with color vision deficiencies.Ultimately, the power of color lies in its ability tocommunicate and evoke emotions without the need for words. Whether it's in art, design, psychology, or science, the study of color continues to captivate and inspire us, revealing its endless mysteries and possibilities.。

色彩搭配师3级英语

色彩搭配师3级英语

色彩搭配师3级英语Level 3 Color Coordination Expert.Introduction.Color coordination, a crucial aspect of interior design, goes beyond mere aesthetics. It involves the harmonious arrangement of colors to create a visually appealing and emotionally impactful environment. A Level 3 Color Coordination Expert possesses a comprehensive understanding of color theory, its practical applications, and the psychological effects of colors. They have the ability to conceptualize and execute sophisticated color schemes that meet specific design objectives.Responsibilities and Skills.A Level 3 Color Coordination Expert is responsible for:Developing and presenting color palettes that alignwith the client's vision and the overall design concept.Understanding and applying color theory principles to create balanced and cohesive color schemes.Considering the psychological impact of colors and how they influence the mood and atmosphere of a space.Collaborating with architects, interior designers, and other professionals to ensure seamless integration of colors into the design.Staying abreast of current color trends and innovations.Qualifications and Experience.To become a Level 3 Color Coordination Expert, individuals typically require:A bachelor's degree in interior design, color theory, or a related field.A minimum of 5 years of experience in colorcoordination or a related role.Certification from a recognized color coordination organization.Excellent communication, presentation, andinterpersonal skills.A keen eye for detail and a strong sense of aesthetics.Benefits and Career Path.As a Level 3 Color Coordination Expert, individuals can enjoy:High earning potential due to specialized knowledgeand expertise.Opportunities to work on prestigious and challenging design projects.The ability to make a tangible impact on the visual and emotional experience of spaces.Continuous professional development through industry conferences, workshops, and certifications.Advancement Opportunities.With continued experience and professional development, Color Coordination Experts can progress to higher-level positions, such as:Color Consultation Manager: Oversee color coordination projects, manage teams of color experts, and provide strategic guidance.Color Marketing Specialist: Develop and implement color marketing campaigns, conduct market research, and forecast color trends.Color Psychology Consultant: Utilize color theory toanalyze and understand the psychological impact of colors in various settings.Conclusion.Level 3 Color Coordination Experts play a vital role in the design industry. Their expertise in color coordination elevates the aesthetic appeal, emotional impact, andoverall functionality of spaces. With a strong foundation in color theory, a keen sense of aesthetics, and a passion for creating visually stunning environments, these professionals contribute significantly to the field of interior design.。

秋天有什么特点呢英语作文

秋天有什么特点呢英语作文

Autumn is a season of transformation and splendor, marked by a unique set of characteristics that distinguish it from the other seasons. Here is a detailed exploration of the features that make autumn a special time of the year.1. Colorful Foliage: Autumn is renowned for its vibrant display of colors. As the days grow shorter and temperatures cool, the leaves on deciduous trees undergo a chemical change, resulting in a spectacular array of reds, oranges, and yellows. This phenomenon, known as the fall colors, is a visual treat that attracts tourists and photographers alike.2. Harvest Season: It is the time of harvest, where farmers reap the fruits of their labor from the fields. Crops like corn, wheat, and pumpkins are gathered, and orchards yield apples, pears, and other fruits. This abundance is celebrated in various autumn festivals and harvest celebrations.3. Cooler Temperatures: The gradual decrease in temperature is a welcome respite from the heat of summer. The crisp, cool air is refreshing and often invigorating, making it an ideal time for outdoor activities such as hiking, apple picking, and enjoying the great outdoors.4. Migrating Animals: Many species of birds and animals prepare for the winter by migrating to warmer climates. This mass movement is a fascinating spectacle of nature, as birds fly in Vformations and animals travel in herds.5. Changes in Daylight: The days become noticeably shorter as the Earth tilts away from the sun, leading to earlier sunsets and later sunrises. This shift in daylight hours can affect mood and energy levels, a phenomenon known as seasonal affective disorder SAD.6. Preparation for Winter: Autumn is a time of preparation for the coming winter. Animals such as squirrels and bears gather food and build nests or dens. Humans also engage in seasonal tasks like raking leaves, cleaning gutters, and preparing their homes for the colder months.7. Autumn Cuisine: The season brings with it a variety of seasonal foods. Pumpkins are used in everything from pies to lattes, and root vegetables like potatoes and carrots become staples in many dishes. Soups, stews, and casseroles become popular as people seek comfort in warm, hearty meals.8. Festivals and Holidays: Autumn is rich with cultural and religious celebrations. Halloween, Thanksgiving, and various harvest festivals are times for community gatherings, feasting, and traditions that often involve the seasons symbols, such aspumpkins and cornucopias.9. Fashion Shift: With the change in weather comes a shift in fashion. Warmer clothing like sweaters, jackets, and boots become the norm, and the wardrobe reflects the earthy tones of the season.10. A Time for Reflection: The tranquility and beauty of autumn can inspire a sense of reflection and introspection. People often take this time to assess their lives and set goals for the upcoming year.Autumn is a season of change, a time to appreciate the beauty of nature and the bounty of the earth. It is a period that invites us to enjoy the outdoors, celebrate with friends and family, and prepare for the quiet solitude of winter.。

史上最全的纺织面料印染专用英语

史上最全的纺织面料印染专用英语

史上最全的纺织面料印染专用英语颜色方面:奶白:Lvory/Cream大红:Red紫红:Bordeaux/Wine紫色: Burgandy/Plum/Violet/Purple绿色:Green灰色:Grey黄色:Yellow卡其:Kahki淡紫色:Lilac古铜色:Brown梅红:Fuschia橄榄绿:Olive藏青:Navy blue天蓝:Sky blue粉红:Pink米色:Beige橘黄:Orange驼色:Camel特黑: Black/ Jet black 炭黑: Charcoal产品包装方面:卷杆:RIilling/Winding散装:Loose packing编织袋:PP Bag纸箱:Carton木箱:Wooden Carton中性包装:Neutral Packing 吊牌:Lable / Hang Tag唛头:Shipping Mark船样:Shipping Sample塑料袋:Poly/Plastic Bag 匹长:Roll Length出口包装: Export Packing 产品检验及标准方面:质量标准: Quality Standard (Oeko-Tex Standard 100 、 ISO9002 、 SGS 、 ITS 、AATCC 、M&S )客检:Customer Inspection台板检验: Table Inspection色牢度:Color Fastness皂洗色牢度:Washing Color Fastness摩擦色牢度:Rubbing/ Cricking ColorFastness光照色牢度:Light Color Fastness汗渍色牢度:Perspiration Color Fastness水渍色牢度:Water Color Fastness氯漂白色牢度:Chlorine Bleach Color Fastness尺寸稳定性:Dimensional Stability外观持久性:Appearance Retention拉伸强度:Tensile Strength撕破强度:Tear Strength接缝滑裂:Seam Slippage抗起毛起球性:Pilling Resistance 耐磨性:Abrasion Resistance拒水性:Water Repellency抗水性:Water Resistance织物密度:Density纱支:Yarn Count克重:Weight产品疵点方面:疵点:Defect/Fault经柳:Streaky Warp断经:Broken End急经:Right End粗纬:Coarse Picks粗经:Coarse End断纬:Broken Picks纬斜:Skewing Slope横档:Filling Bar污迹:Stain/Dirt异型丝:Goat/Foreing Yarn 破洞:Hole渗色:Color Bleeding褪色:Color Fading/Discolor擦伤:Scratch/Barasion/Winch Mark 松板印:Moire Effects折痕:Crease Mark织机方面:喷气织机 : Air-jet Loom剑杆织机 : Rapier Loom片梭织机 : Sulzer Loom有梭织机 : Shuttle Loom无梭织机 : Shuttleless Loom光边 : Tuck-in Selvedge毛边 : Leno Selvedge整理方面:染色前整理:Preminary Finish(PFP/ PFD)退浆:Desizing染色:Dyeing固色:Color Fixing后整理:After Finish / After Treatment热定型:Heat Setting树脂整理:Resin Finish切割: Cut轧花:Embossed/Logetype涂层:Coating (PU/PA )涂白:White Pigment涂银:Silver Print烫金:Gold Print磨毛:Brushed/Peached起皱:Crinked/ Creped轧泡:Bubbled丝光:Mercerized硬挺:Stiffening抗静电:Anti-Static抗起球:Anti-Pilling防羽绒:Down Proof防霉:Anti-Fungus免烫:Wash and wear/Iron Free砂洗:Stone Washed阻燃:Flame Retardant环保染色:AZO Free防水:W/P ( Water Proof)拒水:W/R (Water Repellent)缩水:W/S ( Water Shrinkage)印花:Printing涂料印花:Coat Printing拔染印花:Discharge Printing平网印花:Plate Scream Printing圆网印花:Rotary Scream Printing转移印花:Transfer Printing烂花:Burn-out模版印花:Block Printing染料方面:酸性染料:Acid Dyes活性染料:Reactive Dyes分散染料:Disperse Dyes阳离子染料:Cation Dyes还原染料:VAT Dyes直接染料:Direct Dyes非偶氮染料:AZO Free Dyes 产品方面:面料: Fabric平纹:Taffeta斜纹:Twill缎面:Satin提花:Jacquard烂花:Burnt-out春亚纺: Pongee格子:Check/Ribstop 条子:Stripe双层:Double –Layer 雪纺:Chiffon乔其:Georgette塔丝隆:Taslon弹力布: Spandex/Elastic/Stretch/LycraFabric 牛仔布:Denim牛津布:Oxford帆布:Canvas涤棉: P/C. T/C棉涤: CVC涤黏: T/R白条纺:White Stripe黑条纺:Black Stripe空齿纺:Empty Stripe水洗绒 /桃皮绒:Peach Skin原料及其缩写:棉 C :Cotton羊毛 W : Wool马海毛M: Mohair兔毛 RH : Rabbit hair 羊驼毛 AL :Alpaca真丝 S:Silk黄麻 J:Jute亚麻 L:linen柞蚕丝 Ts :Tussah silk 牦牛毛 YH: Yark hair 莱卡 Ly: Lycra苎麻 Ram :Ramine大麻 Hem :Hemp涤纶 T:Polyester羊绒 WS : Cashmere锦纶(尼龙) N :Nylon 腈纶 A:Acrylic天丝 Tel : Tencel羊羔毛 La :Lambswool 莫代尔 Md: Model驼毛 CH : Camel Hair桑蚕丝 MS: Mulberry silk 粘胶 R :Rayon长丝: Filament短纤: Fiber全拉伸丝: FDY( Full Drawn Yarn )预取向丝:POY (Pre Oriented Yarn )拉伸变形丝:DTY ( Draw Textured Yarn)牵伸加捻丝: DT(Draw Twist )纤维名称缩写代号天然纤维丝 S麻 L人造纤维粘胶纤维R醋酯纤维 CA铜氨纤维CVP富强纤维Polynosic 蛋白纤维PROT纽富纤维Newcell合成纤维碳纤维CF 聚苯硫醚纤维PPS 聚缩醛纤维POM酚醛纤维PHE弹性纤维PEA聚醚酮纤维PEEK 预氧化腈纶PANOF维纶 PVAL聚乙烯醇缩乙醛纤维PVB 氨纶 PU硼纤维EF含氯纤维CL高压型阳离子可染聚酯纤维常压沸染阳离子可染纤维聚乳酸纤维PLA聚对苯二甲酸丙二醇酯纤维聚对苯二甲酸丁二醇酯纤维聚萘二甲酸乙二醇酯纤维CDP ECDPPTT PBT PEN ES氯纶 Pvo聚对本二氧杂环已酮纤维PDS弹性二烯纤维ED同位芳香族聚酰胺纤维PPT对位芳香族聚酰胺纤维PPTA芳砜纶PDSTA聚酰亚胺纤维Pi超高强高模聚乙烯纤维CHMW-PE 其他金属纤维MTF玻璃纤维GE面料的构成方式:织物:梭织物 (wovenfabric)针织物 (knittedfabric)无纺织物 (non-wovenfabric)。

英语 色彩相关词根 -回复

英语 色彩相关词根 -回复

英语色彩相关词根-回复the question "Color-Related Word Roots in English."Introduction:Color is an essential element in our visual world, permeating our everyday lives. From art and design to language and communication, color plays a significant role in adding depth and meaning to our experiences. In the English language, there are various word roots related to color that provide insight into the origins and significance of different hues. In this article, we will explore these color-related word roots, their origins, and how they contribute to the rich tapestry of language we use to describe and understand color.I. The significance of color:Before delving into the word roots, it is important to discuss why color holds such importance in our lives. Color evokes feelings, conveys messages, and adds visual appeal to our surroundings. Each color has its own unique psychological and cultural associations, making it a powerful tool for self-expression and communication. By understanding the roots of color-related words, we gain a deeper appreciation for the linguistic and culturalsignificance of color in our day-to-day lives.II. Latin and Greek origins:Many color-related word roots in the English language originated from Latin and Greek. The Romans and Greeks developed a rich vocabulary for describing colors, which has heavily influenced many modern languages, including English. For instance, the Latin word root "chroma" derives from the Greek term "khroma," which means color. This root is seen in words like "chromatic" and "monochromatic," referring to the presence or absence of color in a particular context.III. Shades and tones:Colors are rarely experienced in their purest form. Instead, we often encounter various shades and tones, offering a vast array of possibilities. Understanding the roots behind these terms allows us to articulate the nuances of color more accurately. For instance, the Latin word root "tenuis" means "thin" or "fine." This root is found in words like "tint" and "tone," which describe variations of color achieved by adding white or black respectively. "Shade," on the other hand, derives from the Old English word "sceadu," meaning "shadow." Thus, the very roots of words like "shade" and "shadow"hint at the interplay between light and dark in our perception of color.IV. Vibrancy and intensity:When we describe colors, we often comment on their vibrancy or intensity. The fiery red of a sunset or the electric blue of a neon sign captivate our attention. These descriptors can be traced back to word roots that emphasize energy and force. Take, for example, the Latin word "intensus," meaning "stretched tight." This root is embedded in words like "intense" and "intensity," conveying the vividness and strength of a color. In a similar vein, the Greek word "dynamos," denoting "power" or "force," is present in terms like "dynamic" and "dynamo," which describe colors that exude energy and vitality.V. Cultural influences on color terminology:While many color-related word roots have Latin and Greek origins, a significant number of terms have been derived from cultural contexts. For instance, the word "turquoise" originates from the French word "turquois," which means "Turkish." This reflects the historical association of this color with Turkey, where it has been mined for centuries. Another example is the word "magenta,"which comes from the name of a battle that took place in Magenta, Italy. The victory in this battle led to the unification of Italy, and the color became synonymous with the national liberation movement. Thus, understanding the cultural background of color-related terms adds depth and context to our perception and usage of color words.Conclusion:Color-related word roots offer a fascinating glimpse into the origins and significance of the words we use to describe color. From Latin and Greek roots to culturally influenced terms, this exploration illustrates the intricacies and richness of language when it comes to capturing the essence of color. By understanding the roots of color-related words, we deepen our understanding of color's impact on our lives, language, and culture.。

纺织染整中术语的英文对照

纺织染整中术语的英文对照

纺织染整中术语的英文对照纺织印染中英文对照大全A 色牢度试验项目COLOUR FASTNESS TESTS皂洗牢度washing摩擦牢度rubbing/crocking汗渍牢度perspiration干洗牢度drycleaning光照牢度light水渍牢度water氯漂白chlorine bleach spotting非氯漂白non-chlorine bleach漂白bleaching实际洗涤(水洗一次)actual laundering (one wash)氯化水chlorinated water含氯泳池水chlorinated pool water海水sea-water酸斑acid spotting碱斑alkaline spotting水斑water spotting有机溶剂organic solvent煮呢potting湿态光牢度wet light染料转移dye transfer热(干态)dry heat热压hot pressing印花牢度print durability臭氧ozone烟熏burnt gas fumes由酚类引起的黄化phenolic yellowing唾液及汗液saliva and perspirationB 尺寸稳定性(缩水率)及有关试验项目(织物和成衣)DIMENSIONAL STABILITY (SHRINKAGE)AND RELATED TESTS (FABRIC & GARMENT)皂洗尺寸稳定性dimensional stability to washing (washing shrinkage)洗涤/手洗后的外观appearance after laundering / hand wash 热尺寸稳定性dimensional stability to heating熨烫后外观appearance after ironing商业干洗稳定性dimensional stability to commercial drycleaning (drycleaning shrinkage)商业干洗后外观(外观保持性)appearance after commercial drycleaning (appearance retention)蒸汽尺寸稳定性dimensional stability to steaming松弛及毡化dimensional stabilty to relaxation and felting缝纫线形稳定性dimensional stability for sewing threadC 强力试验项目STRENGTH TESTS拉伸强力tensile strength撕破强力tear strength顶破强力bursting strength接缝性能seam properties双层织物的结合强力bonding strength of laminated fabric涂层织物的粘合强力adhesion strength of coated fabric单纱强力single thread strength缕纱强力lea strength钩接强力loop strength纤维和纱的韧性tenacity of fibres and yarnD 织物机构测试项目FABRIC CONSTRUCTION TESTS织物密度(机织物)threads per unit length (woven fabric construction)织物密度(针织物)stitch density (knittted fabric)纱线支数counts of yarn纱线纤度(原样)denier counts as received织物幅宽fabric width织物克重fabric weight针织物线圈长度loop length of knitted fabric纱线卷曲或织缩率crimp or take-up of yarn割绒种类type of cut pile织造种类type of weave梭织物纬向歪斜度distortion in bowed and skewed fabrics (report as received and after one wash)圈长比terry to ground ratio织物厚度fabric thicknessE 成分和其他分析试验项目COMPOSITION AND OTHER ANALYTICAL TESTS纤维成分fibre composition染料识别dyestuff identification靛蓝染料纯度purity of indigo含水率moisture content可萃取物质extractable matter填充料和杂质含量filling and foreign matter content淀粉含量starch content甲醛含量formaldehyde content甲醛树脂presence of formaldehyde resin棉丝光度mercerisation in cottonPH值PH value水能性absorbanceF 可燃性试验项目FLAMMABILITY TESTS普通织物的燃烧性能flammability of general clothing textiles布料的燃烧速率(45。

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Summary: We first introduce the conceptual basis of critical behaviour in strongly interacting matter, with colour deconfinement as QCD analog of the insulator-conductor transition and chiral symmetry restoration as special case of the associated shift in the mass of the constituents. Next we summarize quark-gluon plasma formation in finite temperature lattice QCD. We consider the underlying symmetries and their spontaneous breaking/restoration in the transition, as well as the resulting changes in thermodynamic behaviour. Finally, we turn to the experimental study of strongly interacting matter by high energy nuclear collisions, using charmonium production to probe the confinement status of the produced primordial medium. Recent results from P b-P b collisions at CERN may provide first evidence for colour deconfinement.
with rc as colour screening radius. At sufficiently high density, colour screening will therefore dissolve a hadron into its coloured quark constituents, so that deconfinement is the QCD analog of the insulator-conductor transition. When the electrons of an insulator are decoupled, their mass is shifted from the standard me to an effective value meff e , determined by lattice interactions and the effect of the electron gas in the conductor. In QCD, we expect the quark mass, which takes on ≃ mproton /3 when the quark is confined to a an effective constituent quark value mconst q hadron, to drop back to the current quark value mq of the QCD Lagrangian once it is no longer confined. Such a quark mass shift is therefore another aspect to be considered in the course of colour deconfinement. In the limit mq = 0, the Lagrangian becomes chirally symmetric, so that in this case the intrinsic chiral symmetry of the theory must be spontaneously broken in the hadronic phase and restored in the QGP. The basic condition for the transition from hadronic to quark matter is a sufficiently high density of constituents: it then becomes impossible to define a given quarkantiquark pair or a quark triplet as some specific hadron, since within any hadronic volume there are many other possible partners. Such a density can be achieved either by compressing baryons (cold nuclear matter) or by heating a mesonic medium, increasing its density by particle production in collisions (hot mesonic matter). The phase diagram of QCD can thus maps out regions in the plane of temperature T and baryochemical potential µ (see Fig. 1), with the latter specifying the mean baryon number density (baryons minus antibaryons). How many phases are there in QCD thermodynamics? As we shall see shortly, it is known from lattice QCD studies that for µ = 0, deconfinement and the approximate chiral symmetry restoration associated to light quarks occur at the same temperature Tc . So far, technical reasons prevent us from carrying out lattice calculations for µ = 0, 1
leaving in particular a “terra incognita” in the low temperature, high density region. Since the potential between quarks contains an attractive component, it is quite conceivable that after deconfinement there will be diquark formation, with quark pairs playing the role of Cooper pairs in a diquark phase similar to a superconductor. Only at high enough density or temperature, such diquarks would then break up to form the true QGP. It appears that this really interesting question of the low temperature structure of QCD matter will have to remain unanswered until a suitable lattice scheme is developed for baryonic matter.
1. Critical Behaviour in Strongly Interacting Matter At sufficiently high temperatures or densities, matter is expected to undergo a transition from confined to deconfined quarks as its basic constituents. It is, according to quantum chromodynamics (QCD), always made up of quarks and gluons; in the confined phase, these coloured constituents are bound to colour-neutral hadrons, while in the deconfined quark-gluon plasma (QGP), there are freely moving colour charges. We begin with a look at the critical behaviour expected during the transition from hadronic matter to QGP. The Coulomb potential between two electric charges becomes Debye-screened in a medium of many other charges, reducing its range to the Debye radius rD , e e → e−r/rD . (1) r r At high enough density, when the Debye radius becomes shorter than the atomic radius, bound electrons are liberated into the conduction band, changing an insulator into a conductor. Similarly, colour charges bound by the linearly rising confinement potential of QCD become screened in a dense medium, σr → σrc [1 − e−r/rc ], (2)
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