A NEW STREAMLINE CURVATURE THROUGHFLOW METHOD FOR RADIAL TURBOMACHINERY

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Q Sepharose Fast Flow 产品说明书

Q Sepharose Fast Flow 产品说明书

Q1126pis Rev 01/221Product InformationQ Sepharose ® Fast FlowQ1126Product DescriptionQ Sepharose ® Fast Flow is an ion exchangechromatography resin with a quaternary amine (Q) functional group [-CH 2-N +(CH 3)3] attached to Sepharose ® Fast Flow. The Q group serves as astrong anion exchanger, which is completely ionized over a broad pH range. The terms “s trong" and"weak" in ion exchange chromatography refer to the extent of ionization with pH, and not to the binding strength of the functional group to the target species. The parent Sepharose ® Fast Flow is a cross-linked derivative of Sepharose ®. The particle size range is 45-165 µm. The average bead diameter is ~90 µm. The counterion in the product is sulfate (SO 4-2). Recommended cation buffers to use with Q Sepharose ® Fast Flow include alkylamines,ammonium, ethylenediamine, imidazole, pyridine, or Tris. In terms of pH, it is suggested to operate within 0.5 pH unit of the buffer's pK a . With proteins, it is suggested to operate at least 1 pH unit above the pI of the protein, to facilitate binding. Oxidizing agents, and anionic detergents and buffers, should not be used with Q Sepharose ® Fast Flow. Likewise,extended exposure of Q1126 to pH < 4 should be avoided. Several publications 1,2 and dissertations 3-5 cite use of product Q1126 in their research.ReagentQ Sepharose ® Fast Flow is offered as a suspension in 20% ethanol.Approximate Exclusion Limit: average molecular mass of ~4 × 106 DaltonsIonic Capacity: 0.18-0.24 mmol Cl -/mL gel Binding Capacity: ~42 mg BSA per mL gel pH Stability: 2-12Working temperature: 4-40 °CPrecautions and DisclaimerFor R&D use only. Not for drug, household, or other uses. Please consult the Safety Data Sheet for information regarding hazards and safe handling practices. General Resin Preparation Procedure1. Allow the ion exchange medium and ~10 columnvolumes (CV) of buffer to equilibrate to thetemperature chosen for the chromatographic run. 2. Mix the pre-swollen suspension with startingbuffer to form a moderately thick slurry, which consists of ~75% settled gel and 25% liquid. 3. Degas the gel under vacuum at the temperatureof column operation.4. Mount the column vertically on a suitable stand,out of the way of direct sunlight or drafts, which may cause temperature fluctuations.5. Pour a small amount of buffer into the emptycolumn. Allow the buffer to flow through spaces to eliminate air pockets.6. Pour the suspension of ion exchange mediumprepared in Step 3 into the column by allowing it to flow gently down the side of the tube, to avoid bubble formation.7. For consistent flow rates and reproducibleseparations, connect a pump to the column. 8. Fill the remainder of the column to the top withbuffer. Allow ~5 CV of buffer to drain through the bed at a flow rate at least 133% of the flow rate to be used in the procedure. The bed height should have settled to a constant height.9. Using a syringe or similar instrument, apply thesample dissolved in starting buffer to the column. For isocratic separations, the sample volumeshould range from 1-5% of the column volume. If the chromatographic run involves elution with a gradient, the applied sample mass is of much greater importance than the sample volume, and the sample should be applied in a low ionicstrength medium. Ion exchange is used both to concentrate and to fractionate the sample. 10. Elution:• If only unwanted substances in the sample areadsorbed, or if sample components aredifferentially retarded under isocratic conditions, the starting buffer can also be used as the eluent.The life science business of Merck operates as MilliporeSigma in the U.S. and Canada.Merck and Sigma-Aldrich are trademarks of Merck KGaA, Darmstadt, Germany or its affiliates. All other trademarks are the property of their respective owners. Detailed information on trademarks is available via publicly accessible resources.© 2022 Merck KGaA, Darmstadt, Germany and/or its affiliates. All Rights Reserved. Q1126pis Rev 01/22 JJJ,MAM,GCY2•Normally, however, separation and elution are achieved by selectively decreasing the affinity of the molecules for the charged groups on the resin by changing the pH and/or ionic strength of the eluent. This procedure is termed gradient elution. 11. Regeneration: •Either (a) washing the column with a high ionic strength salt solution, such as 1 M NaCl, or (b) changing the pH to the tolerable low and high pH extremes, is usually sufficient to remove reversibly bound material.• When needed, lipids and precipitated proteins canbe removed by washing with 1 CV of 1-2 M NaCl, followed by 1 CV of 0.1 M NaOH in 0.5 M NaCl. • Rinse with several CV of water. Thenre-equilibrate the resin with starting buffer.• If base such as NaOH was used, adjust the pH ofthe resin to neutral before storing or using.12. Storage: Q Sepharose ® Fast Flow may be storedat 2-8 °C in water with 20% ethanol added as an antibacterial agent.General NotesCation versus Anion Exchanger• If sample components are most stable below their pI values, a cation exchanger should be used. • If sample components are most stable above their pI values, an anion exchanger should be used. •If stability is good over a wide pH range on both sides of the pI, either or both types of ion exchanger may be used.Strong versus Weak Ion Exchanger•Most proteins have pI values within the range 5.5-7.5, and can thus be separated on both strong and weak ion exchangers.•When maximum resolution occurs at an extreme pH and the molecules of interest are stable at that pH, a strong ion exchanger should be used. Choice of Buffer, pH, and Ionic Strength• The highest ionic strength which permits binding should normally be used.•The required buffer concentration varies fromsubstance to substance. Usually, an ionic strength of at least 10 mM is required to ensure adequate buffering capacity.•As salts (such as buffers) help to stabilize proteins in solution, their concentration should be highenough to prevent denaturation and precipitation.References1. López, G. et al ., Eukaryot. Cell , 14(6), 564-577(2015).2. Bhargava, V. et al ., Dev. Cell., 52(1), 38-52.e10(2020).3. Fu , Yinan, “Structure and dynamics ofPseudomonas aeruginosa ICP”. University ofGlasgow, Ph.D. dissertation, p. 126 (April 2009). 4. Redmond, Miranda , “The Role of N-TerminalAcidic Inserts on the Dynamics of the Tau Protein ”. University of Vermont, Ph.D. dissertation, p. 22 (May 2017).5. Taylor-Whiteley, Teresa Rachel , “RecapitulatingParkinson’s disease pathology in athree-dimensional neural cell culture mode ”. Sheffield Hallam University, Ph.D. dissertation, p. 58 (September 2019).NoticeWe provide information and advice to our customers on application technologies and regulatory matters to the best of our knowledge and ability, but without obligation or liability. Existing laws and regulations are to be observed in all cases by our customers. This also applies in respect to any rights of third parties. Our information and advice do not relieve ourcustomers of their own responsibility for checking the suitability of our products for the envisaged purpose. The information in this document is subject to change without notice and should not be construed as acommitment by the manufacturing or selling entity, or an affiliate. We assume no responsibility for any errors that may appear in this document.Technical AssistanceVisit the tech service page at /techservice .Standard WarrantyThe applicable warranty for the products listed in this publication may be found at /terms .Contact InformationFor the location of the office nearest you, go to /offices .。

Understanding the Flow of Fluids through Pipes

Understanding the Flow of Fluids through Pipes

Understanding the Flow of Fluidsthrough PipesFluids are materials that follow the shape of their container, such as liquids and gases. They often flow through pipelines, carrying various materials from one place to another. The process of fluid flow is a crucial aspect of many industries, including oil and gas, chemical, and water treatment. Therefore, understanding the flow of fluids through pipes is essential for engineers and technicians working in these fields.There are two main types of flows: laminar and turbulent. Laminar flow occurs when fluids move in parallel layers without mixing. This type of flow is common in low-velocity fluids and straight pipes. In contrast, turbulent flow occurs when fluids move erratically, with turbulent eddies and vortices mixing the fluid. This type of flow is typical in high-velocity fluids and rough pipes.To calculate the flow of fluids through pipes, engineers use a variety of equations and principles. One such principle is Bernoulli's equation, which relates the pressure and velocity of fluids within a pipe. According to Bernoulli's equation, the total energy of a fluid (sum of kinetic, potential, and pressure energies) remains constant along a streamline. This principle is often used to calculate the velocities or pressure drop in a fluid pipeline.Another principle that describes fluid flow is the continuity equation. The continuity equation describes the relationship between velocity and cross-sectional area of the pipe. It states that the mass flow rate (mass per unit time) remains constant along a pipeline, regardless of changes in cross-sectional area or velocity.In addition to equations and principles, engineers must consider various factors that affect fluid flow within pipes. These factors include the viscosity of the fluid, the diameter and length of the pipe, and the roughness of the pipe's internal surface. For example, fluids with high viscosity experience more resistance to flow and may require higher pressure to move through a pipe. Similarly, rougher pipes will cause moreturbulence and therefore require a higher pumping pressure to achieve the same flow rate as a smoother pipe.Engineers and technicians can also use computational fluid dynamics (CFD) software to simulate fluid flow within pipelines. CFD allows them to predict the behavior of fluids and optimize the design of pipelines. This technology uses numerical methods to solve the equations that describe fluid flow, providing engineers with a detailed understanding of the velocity and pressure distribution of the fluid within a pipeline.In conclusion, understanding the flow of fluids through pipes is essential for various industries. Engineers and technicians use equations, principles, and advanced technology to optimize pipeline design and calculate flow rates. By understanding the factors that affect fluid flow and employing suitable methods, they can ensure safe and efficient transport of materials through pipelines.。

复杂的操作流程英语作文

复杂的操作流程英语作文

复杂的操作流程英语作文Title: A Complex Operation Process。

In today's fast-paced world, complex operation processes are becoming more and more common in various industries. These processes require careful planning, precise execution, and effective communication among team members. In this essay, we will explore a complex operation process in the manufacturing industry and discuss the challenges and strategies for successful implementation.The complex operation process we will be focusing on is the production of a new electronic device. This process involves multiple steps, including product design, component sourcing, manufacturing, quality control, and distribution. Each step requires coordination among different departments and external suppliers to ensure the final product meets the quality standards and timelines.The first step in the operation process is productdesign. This involves collaboration between the engineering and design teams to create a detailed blueprint of the electronic device. The design must take into account the technical specifications, user requirements, and market trends. Any changes to the design must be communicated effectively to all team members to avoid delays in the production process.Once the design is finalized, the next step is component sourcing. This involves identifying and procuring the necessary components from various suppliers. The procurement team must ensure that the components meet the quality standards and are delivered on time. Any delays in component sourcing can disrupt the entire production schedule, leading to cost overruns and missed deadlines.After the components are sourced, the manufacturing process begins. This involves assembling the components, testing the electronic device for functionality and quality, and packaging the final product. The manufacturing teammust work efficiently to meet the production targets and maintain the quality standards. Regular communicationbetween the manufacturing team and other departments is crucial to address any issues that may arise during the production process.Quality control is another critical step in the operation process. This involves inspecting the electronic device at various stages of production to ensure that it meets the quality standards. Any defects or deviations from the specifications must be addressed immediately to prevent the production of faulty products. The quality control team must work closely with the manufacturing team to implement corrective actions and prevent future issues.Once the electronic device is manufactured and passes the quality control tests, it is ready for distribution. This involves packaging the product, preparing it for shipment, and delivering it to the customers. The distribution team must coordinate with logistics providers to ensure timely delivery and track the shipments to prevent any delays or losses.In conclusion, a complex operation process like theproduction of a new electronic device requires careful planning, precise execution, and effective communication among team members. By following the steps outlined in this essay and addressing the challenges that may arise, companies can successfully implement complex operation processes and deliver high-quality products to the market.。

Native Instruments MASCHINE MK3 用户手册说明书

Native Instruments MASCHINE MK3 用户手册说明书

The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu-ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru-ments GmbH.ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies GmbH.All other product and company names are trademarks™ or registered® trademarks of their re-spective holders. Use of them does not imply any affiliation with or endorsement by them.Document authored by: David Gover and Nico Sidi.Software version: 2.8 (02/2019)Hardware version: MASCHINE MK3Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product.NATIVE INSTRUMENTS GmbH Schlesische Str. 29-30D-10997 Berlin Germanywww.native-instruments.de NATIVE INSTRUMENTS North America, Inc. 6725 Sunset Boulevard5th FloorLos Angeles, CA 90028USANATIVE INSTRUMENTS K.K.YO Building 3FJingumae 6-7-15, Shibuya-ku, Tokyo 150-0001Japanwww.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp StreetLondon EC2A 4NUUKNATIVE INSTRUMENTS FRANCE SARL 113 Rue Saint-Maur75011 ParisFrance SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 5F, Shenzhen Zimao Center111 Taizi Road, Nanshan District, Shenzhen, GuangdongChina© NATIVE INSTRUMENTS GmbH, 2019. All rights reserved.Table of Contents1Welcome to MASCHINE (25)1.1MASCHINE Documentation (26)1.2Document Conventions (27)1.3New Features in MASCHINE 2.8 (29)1.4New Features in MASCHINE 2.7.10 (31)1.5New Features in MASCHINE 2.7.8 (31)1.6New Features in MASCHINE 2.7.7 (32)1.7New Features in MASCHINE 2.7.4 (33)1.8New Features in MASCHINE 2.7.3 (36)2Quick Reference (38)2.1Using Your Controller (38)2.1.1Controller Modes and Mode Pinning (38)2.1.2Controlling the Software Views from Your Controller (40)2.2MASCHINE Project Overview (43)2.2.1Sound Content (44)2.2.2Arrangement (45)2.3MASCHINE Hardware Overview (48)2.3.1MASCHINE Hardware Overview (48)2.3.1.1Control Section (50)2.3.1.2Edit Section (53)2.3.1.3Performance Section (54)2.3.1.4Group Section (56)2.3.1.5Transport Section (56)2.3.1.6Pad Section (58)2.3.1.7Rear Panel (63)2.4MASCHINE Software Overview (65)2.4.1Header (66)2.4.2Browser (68)2.4.3Arranger (70)2.4.4Control Area (73)2.4.5Pattern Editor (74)3Basic Concepts (76)3.1Important Names and Concepts (76)3.2Adjusting the MASCHINE User Interface (79)3.2.1Adjusting the Size of the Interface (79)3.2.2Switching between Ideas View and Song View (80)3.2.3Showing/Hiding the Browser (81)3.2.4Showing/Hiding the Control Lane (81)3.3Common Operations (82)3.3.1Using the 4-Directional Push Encoder (82)3.3.2Pinning a Mode on the Controller (83)3.3.3Adjusting Volume, Swing, and Tempo (84)3.3.4Undo/Redo (87)3.3.5List Overlay for Selectors (89)3.3.6Zoom and Scroll Overlays (90)3.3.7Focusing on a Group or a Sound (91)3.3.8Switching Between the Master, Group, and Sound Level (96)3.3.9Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.973.3.9.1Extended Navigate Mode on Your Controller (102)3.3.10Navigating the Software Using the Controller (105)3.3.11Using Two or More Hardware Controllers (106)3.3.12Touch Auto-Write Option (108)3.4Native Kontrol Standard (110)3.5Stand-Alone and Plug-in Mode (111)3.5.1Differences between Stand-Alone and Plug-in Mode (112)3.5.2Switching Instances (113)3.5.3Controlling Various Instances with Different Controllers (114)3.6Host Integration (114)3.6.1Setting up Host Integration (115)3.6.1.1Setting up Ableton Live (macOS) (115)3.6.1.2Setting up Ableton Live (Windows) (116)3.6.1.3Setting up Apple Logic Pro X (116)3.6.2Integration with Ableton Live (117)3.6.3Integration with Apple Logic Pro X (119)3.7Preferences (120)3.7.1Preferences – General Page (121)3.7.2Preferences – Audio Page (126)3.7.3Preferences – MIDI Page (130)3.7.4Preferences – Default Page (133)3.7.5Preferences – Library Page (137)3.7.6Preferences – Plug-ins Page (145)3.7.7Preferences – Hardware Page (150)3.7.8Preferences – Colors Page (154)3.8Integrating MASCHINE into a MIDI Setup (156)3.8.1Connecting External MIDI Equipment (156)3.8.2Sync to External MIDI Clock (157)3.8.3Send MIDI Clock (158)3.9Syncing MASCHINE using Ableton Link (159)3.9.1Connecting to a Network (159)3.9.2Joining and Leaving a Link Session (159)3.10Using a Pedal with the MASCHINE Controller (160)3.11File Management on the MASCHINE Controller (161)4Browser (163)4.1Browser Basics (163)4.1.1The MASCHINE Library (163)4.1.2Browsing the Library vs. Browsing Your Hard Disks (164)4.2Searching and Loading Files from the Library (165)4.2.1Overview of the Library Pane (165)4.2.2Selecting or Loading a Product and Selecting a Bank from the Browser (170)4.2.2.1[MK3] Browsing by Product Category Using the Controller (174)4.2.2.2[MK3] Browsing by Product Vendor Using the Controller (174)4.2.3Selecting a Product Category, a Product, a Bank, and a Sub-Bank (175)4.2.3.1Selecting a Product Category, a Product, a Bank, and a Sub-Bank on theController (179)4.2.4Selecting a File Type (180)4.2.5Choosing Between Factory and User Content (181)4.2.6Selecting Type and Character Tags (182)4.2.7List and Tag Overlays in the Browser (186)4.2.8Performing a Text Search (188)4.2.9Loading a File from the Result List (188)4.3Additional Browsing Tools (193)4.3.1Loading the Selected Files Automatically (193)4.3.2Auditioning Instrument Presets (195)4.3.3Auditioning Samples (196)4.3.4Loading Groups with Patterns (197)4.3.5Loading Groups with Routing (198)4.3.6Displaying File Information (198)4.4Using Favorites in the Browser (199)4.5Editing the Files’ Tags and Properties (203)4.5.1Attribute Editor Basics (203)4.5.2The Bank Page (205)4.5.3The Types and Characters Pages (205)4.5.4The Properties Page (208)4.6Loading and Importing Files from Your File System (209)4.6.1Overview of the FILES Pane (209)4.6.2Using Favorites (211)4.6.3Using the Location Bar (212)4.6.4Navigating to Recent Locations (213)4.6.5Using the Result List (214)4.6.6Importing Files to the MASCHINE Library (217)4.7Locating Missing Samples (219)4.8Using Quick Browse (221)5Managing Sounds, Groups, and Your Project (225)5.1Overview of the Sounds, Groups, and Master (225)5.1.1The Sound, Group, and Master Channels (226)5.1.2Similarities and Differences in Handling Sounds and Groups (227)5.1.3Selecting Multiple Sounds or Groups (228)5.2Managing Sounds (233)5.2.1Loading Sounds (235)5.2.2Pre-listening to Sounds (236)5.2.3Renaming Sound Slots (237)5.2.4Changing the Sound’s Color (237)5.2.5Saving Sounds (239)5.2.6Copying and Pasting Sounds (241)5.2.7Moving Sounds (244)5.2.8Resetting Sound Slots (245)5.3Managing Groups (247)5.3.1Creating Groups (248)5.3.2Loading Groups (249)5.3.3Renaming Groups (251)5.3.4Changing the Group’s Color (251)5.3.5Saving Groups (253)5.3.6Copying and Pasting Groups (255)5.3.7Reordering Groups (258)5.3.8Deleting Groups (259)5.4Exporting MASCHINE Objects and Audio (260)5.4.1Saving a Group with its Samples (261)5.4.2Saving a Project with its Samples (262)5.4.3Exporting Audio (264)5.5Importing Third-Party File Formats (270)5.5.1Loading REX Files into Sound Slots (270)5.5.2Importing MPC Programs to Groups (271)6Playing on the Controller (275)6.1Adjusting the Pads (275)6.1.1The Pad View in the Software (275)6.1.2Choosing a Pad Input Mode (277)6.1.3Adjusting the Base Key (280)6.1.4Using Choke Groups (282)6.1.5Using Link Groups (284)6.2Adjusting the Key, Choke, and Link Parameters for Multiple Sounds (286)6.3Playing Tools (287)6.3.1Mute and Solo (288)6.3.2Choke All Notes (292)6.3.3Groove (293)6.3.4Level, Tempo, Tune, and Groove Shortcuts on Your Controller (295)6.3.5Tap Tempo (299)6.4Performance Features (300)6.4.1Overview of the Perform Features (300)6.4.2Selecting a Scale and Creating Chords (303)6.4.3Scale and Chord Parameters (303)6.4.4Creating Arpeggios and Repeated Notes (316)6.4.5Swing on Note Repeat / Arp Output (321)6.5Using Lock Snapshots (322)6.5.1Creating a Lock Snapshot (322)6.5.2Using Extended Lock (323)6.5.3Updating a Lock Snapshot (323)6.5.4Recalling a Lock Snapshot (324)6.5.5Morphing Between Lock Snapshots (324)6.5.6Deleting a Lock Snapshot (325)6.5.7Triggering Lock Snapshots via MIDI (326)6.6Using the Smart Strip (327)6.6.1Pitch Mode (328)6.6.2Modulation Mode (328)6.6.3Perform Mode (328)6.6.4Notes Mode (329)7Working with Plug-ins (330)7.1Plug-in Overview (330)7.1.1Plug-in Basics (330)7.1.2First Plug-in Slot of Sounds: Choosing the Sound’s Role (334)7.1.3Loading, Removing, and Replacing a Plug-in (335)7.1.3.1Browser Plug-in Slot Selection (341)7.1.4Adjusting the Plug-in Parameters (344)7.1.5Bypassing Plug-in Slots (344)7.1.6Using Side-Chain (346)7.1.7Moving Plug-ins (346)7.1.8Alternative: the Plug-in Strip (348)7.1.9Saving and Recalling Plug-in Presets (348)7.1.9.1Saving Plug-in Presets (349)7.1.9.2Recalling Plug-in Presets (350)7.1.9.3Removing a Default Plug-in Preset (351)7.2The Sampler Plug-in (352)7.2.1Page 1: Voice Settings / Engine (354)7.2.2Page 2: Pitch / Envelope (356)7.2.3Page 3: FX / Filter (359)7.2.4Page 4: Modulation (361)7.2.5Page 5: LFO (363)7.2.6Page 6: Velocity / Modwheel (365)7.3Using Native Instruments and External Plug-ins (367)7.3.1Opening/Closing Plug-in Windows (367)7.3.2Using the VST/AU Plug-in Parameters (370)7.3.3Setting Up Your Own Parameter Pages (371)7.3.4Using VST/AU Plug-in Presets (376)7.3.5Multiple-Output Plug-ins and Multitimbral Plug-ins (378)8Using the Audio Plug-in (380)8.1Loading a Loop into the Audio Plug-in (384)8.2Editing Audio in the Audio Plug-in (385)8.3Using Loop Mode (386)8.4Using Gate Mode (388)9Using the Drumsynths (390)9.1Drumsynths – General Handling (391)9.1.1Engines: Many Different Drums per Drumsynth (391)9.1.2Common Parameter Organization (391)9.1.3Shared Parameters (394)9.1.4Various Velocity Responses (394)9.1.5Pitch Range, Tuning, and MIDI Notes (394)9.2The Kicks (395)9.2.1Kick – Sub (397)9.2.2Kick – Tronic (399)9.2.3Kick – Dusty (402)9.2.4Kick – Grit (403)9.2.5Kick – Rasper (406)9.2.6Kick – Snappy (407)9.2.7Kick – Bold (409)9.2.8Kick – Maple (411)9.2.9Kick – Push (412)9.3The Snares (414)9.3.1Snare – Volt (416)9.3.2Snare – Bit (418)9.3.3Snare – Pow (420)9.3.4Snare – Sharp (421)9.3.5Snare – Airy (423)9.3.6Snare – Vintage (425)9.3.7Snare – Chrome (427)9.3.8Snare – Iron (429)9.3.9Snare – Clap (431)9.3.10Snare – Breaker (433)9.4The Hi-hats (435)9.4.1Hi-hat – Silver (436)9.4.2Hi-hat – Circuit (438)9.4.3Hi-hat – Memory (440)9.4.4Hi-hat – Hybrid (442)9.4.5Creating a Pattern with Closed and Open Hi-hats (444)9.5The Toms (445)9.5.1Tom – Tronic (447)9.5.2Tom – Fractal (449)9.5.3Tom – Floor (453)9.5.4Tom – High (455)9.6The Percussions (456)9.6.1Percussion – Fractal (458)9.6.2Percussion – Kettle (461)9.6.3Percussion – Shaker (463)9.7The Cymbals (467)9.7.1Cymbal – Crash (469)9.7.2Cymbal – Ride (471)10Using the Bass Synth (474)10.1Bass Synth – General Handling (475)10.1.1Parameter Organization (475)10.1.2Bass Synth Parameters (477)11Working with Patterns (479)11.1Pattern Basics (479)11.1.1Pattern Editor Overview (480)11.1.2Navigating the Event Area (486)11.1.3Following the Playback Position in the Pattern (488)11.1.4Jumping to Another Playback Position in the Pattern (489)11.1.5Group View and Keyboard View (491)11.1.6Adjusting the Arrange Grid and the Pattern Length (493)11.1.7Adjusting the Step Grid and the Nudge Grid (497)11.2Recording Patterns in Real Time (501)11.2.1Recording Your Patterns Live (501)11.2.2The Record Prepare Mode (504)11.2.3Using the Metronome (505)11.2.4Recording with Count-in (506)11.2.5Quantizing while Recording (508)11.3Recording Patterns with the Step Sequencer (508)11.3.1Step Mode Basics (508)11.3.2Editing Events in Step Mode (511)11.3.3Recording Modulation in Step Mode (513)11.4Editing Events (514)11.4.1Editing Events with the Mouse: an Overview (514)11.4.2Creating Events/Notes (517)11.4.3Selecting Events/Notes (518)11.4.4Editing Selected Events/Notes (526)11.4.5Deleting Events/Notes (532)11.4.6Cut, Copy, and Paste Events/Notes (535)11.4.7Quantizing Events/Notes (538)11.4.8Quantization While Playing (540)11.4.9Doubling a Pattern (541)11.4.10Adding Variation to Patterns (541)11.5Recording and Editing Modulation (546)11.5.1Which Parameters Are Modulatable? (547)11.5.2Recording Modulation (548)11.5.3Creating and Editing Modulation in the Control Lane (550)11.6Creating MIDI Tracks from Scratch in MASCHINE (555)11.7Managing Patterns (557)11.7.1The Pattern Manager and Pattern Mode (558)11.7.2Selecting Patterns and Pattern Banks (560)11.7.3Creating Patterns (563)11.7.4Deleting Patterns (565)11.7.5Creating and Deleting Pattern Banks (566)11.7.6Naming Patterns (568)11.7.7Changing the Pattern’s Color (570)11.7.8Duplicating, Copying, and Pasting Patterns (571)11.7.9Moving Patterns (574)11.7.10Adjusting Pattern Length in Fine Increments (575)11.8Importing/Exporting Audio and MIDI to/from Patterns (576)11.8.1Exporting Audio from Patterns (576)11.8.2Exporting MIDI from Patterns (577)11.8.3Importing MIDI to Patterns (580)12Audio Routing, Remote Control, and Macro Controls (589)12.1Audio Routing in MASCHINE (590)12.1.1Sending External Audio to Sounds (591)12.1.2Configuring the Main Output of Sounds and Groups (596)12.1.3Setting Up Auxiliary Outputs for Sounds and Groups (601)12.1.4Configuring the Master and Cue Outputs of MASCHINE (605)12.1.5Mono Audio Inputs (610)12.1.5.1Configuring External Inputs for Sounds in Mix View (611)12.2Using MIDI Control and Host Automation (614)12.2.1Triggering Sounds via MIDI Notes (615)12.2.2Triggering Scenes via MIDI (622)12.2.3Controlling Parameters via MIDI and Host Automation (623)12.2.4Selecting VST/AU Plug-in Presets via MIDI Program Change (631)12.2.5Sending MIDI from Sounds (632)12.3Creating Custom Sets of Parameters with the Macro Controls (636)12.3.1Macro Control Overview (637)12.3.2Assigning Macro Controls Using the Software (638)12.3.3Assigning Macro Controls Using the Controller (644)13Controlling Your Mix (646)13.1Mix View Basics (646)13.1.1Switching between Arrange View and Mix View (646)13.1.2Mix View Elements (647)13.2The Mixer (649)13.2.1Displaying Groups vs. Displaying Sounds (650)13.2.2Adjusting the Mixer Layout (652)13.2.3Selecting Channel Strips (653)13.2.4Managing Your Channels in the Mixer (654)13.2.5Adjusting Settings in the Channel Strips (656)13.2.6Using the Cue Bus (660)13.3The Plug-in Chain (662)13.4The Plug-in Strip (663)13.4.1The Plug-in Header (665)13.4.2Panels for Drumsynths and Internal Effects (667)13.4.3Panel for the Sampler (668)13.4.4Custom Panels for Native Instruments Plug-ins (671)13.4.5Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) (675)13.5Controlling Your Mix from the Controller (677)13.5.1Navigating Your Channels in Mix Mode (678)13.5.2Adjusting the Level and Pan in Mix Mode (679)13.5.3Mute and Solo in Mix Mode (680)13.5.4Plug-in Icons in Mix Mode (680)14Using Effects (681)14.1Applying Effects to a Sound, a Group or the Master (681)14.1.1Adding an Effect (681)14.1.2Other Operations on Effects (690)14.1.3Using the Side-Chain Input (692)14.2Applying Effects to External Audio (695)14.2.1Step 1: Configure MASCHINE Audio Inputs (695)14.2.2Step 2: Set up a Sound to Receive the External Input (698)14.2.3Step 3: Load an Effect to Process an Input (700)14.3Creating a Send Effect (701)14.3.1Step 1: Set Up a Sound or Group as Send Effect (702)14.3.2Step 2: Route Audio to the Send Effect (706)14.3.3 A Few Notes on Send Effects (708)14.4Creating Multi-Effects (709)15Effect Reference (712)15.1Dynamics (713)15.1.1Compressor (713)15.1.2Gate (717)15.1.3Transient Master (721)15.1.4Limiter (723)15.1.5Maximizer (727)15.2Filtering Effects (730)15.2.1EQ (730)15.2.2Filter (733)15.2.3Cabinet (737)15.3Modulation Effects (738)15.3.1Chorus (738)15.3.2Flanger (740)15.3.3FM (742)15.3.4Freq Shifter (743)15.3.5Phaser (745)15.4Spatial and Reverb Effects (747)15.4.1Ice (747)15.4.2Metaverb (749)15.4.3Reflex (750)15.4.4Reverb (Legacy) (752)15.4.5Reverb (754)15.4.5.1Reverb Room (754)15.4.5.2Reverb Hall (757)15.4.5.3Plate Reverb (760)15.5Delays (762)15.5.1Beat Delay (762)15.5.2Grain Delay (765)15.5.3Grain Stretch (767)15.5.4Resochord (769)15.6Distortion Effects (771)15.6.1Distortion (771)15.6.2Lofi (774)15.6.3Saturator (775)15.7Perform FX (779)15.7.1Filter (780)15.7.2Flanger (782)15.7.3Burst Echo (785)15.7.4Reso Echo (787)15.7.5Ring (790)15.7.6Stutter (792)15.7.7Tremolo (795)15.7.8Scratcher (798)16Working with the Arranger (801)16.1Arranger Basics (801)16.1.1Navigating Song View (804)16.1.2Following the Playback Position in Your Project (806)16.1.3Performing with Scenes and Sections using the Pads (807)16.2Using Ideas View (811)16.2.1Scene Overview (811)16.2.2Creating Scenes (813)16.2.3Assigning and Removing Patterns (813)16.2.4Selecting Scenes (817)16.2.5Deleting Scenes (818)16.2.6Creating and Deleting Scene Banks (820)16.2.7Clearing Scenes (820)16.2.8Duplicating Scenes (821)16.2.9Reordering Scenes (822)16.2.10Making Scenes Unique (824)16.2.11Appending Scenes to Arrangement (825)16.2.12Naming Scenes (826)16.2.13Changing the Color of a Scene (827)16.3Using Song View (828)16.3.1Section Management Overview (828)16.3.2Creating Sections (833)16.3.3Assigning a Scene to a Section (834)16.3.4Selecting Sections and Section Banks (835)16.3.5Reorganizing Sections (839)16.3.6Adjusting the Length of a Section (840)16.3.6.1Adjusting the Length of a Section Using the Software (841)16.3.6.2Adjusting the Length of a Section Using the Controller (843)16.3.7Clearing a Pattern in Song View (843)16.3.8Duplicating Sections (844)16.3.8.1Making Sections Unique (845)16.3.9Removing Sections (846)16.3.10Renaming Scenes (848)16.3.11Clearing Sections (849)16.3.12Creating and Deleting Section Banks (850)16.3.13Working with Patterns in Song view (850)16.3.13.1Creating a Pattern in Song View (850)16.3.13.2Selecting a Pattern in Song View (850)16.3.13.3Clearing a Pattern in Song View (851)16.3.13.4Renaming a Pattern in Song View (851)16.3.13.5Coloring a Pattern in Song View (851)16.3.13.6Removing a Pattern in Song View (852)16.3.13.7Duplicating a Pattern in Song View (852)16.3.14Enabling Auto Length (852)16.3.15Looping (853)16.3.15.1Setting the Loop Range in the Software (854)16.4Playing with Sections (855)16.4.1Jumping to another Playback Position in Your Project (855)16.5Triggering Sections or Scenes via MIDI (856)16.6The Arrange Grid (858)16.7Quick Grid (860)17Sampling and Sample Mapping (862)17.1Opening the Sample Editor (862)17.2Recording Audio (863)17.2.1Opening the Record Page (863)17.2.2Selecting the Source and the Recording Mode (865)17.2.3Arming, Starting, and Stopping the Recording (868)17.2.5Using the Footswitch for Recording Audio (871)17.2.6Checking Your Recordings (872)17.2.7Location and Name of Your Recorded Samples (876)17.3Editing a Sample (876)17.3.1Using the Edit Page (877)17.3.2Audio Editing Functions (882)17.4Slicing a Sample (890)17.4.1Opening the Slice Page (891)17.4.2Adjusting the Slicing Settings (893)17.4.3Live Slicing (898)17.4.3.1Live Slicing Using the Controller (898)17.4.3.2Delete All Slices (899)17.4.4Manually Adjusting Your Slices (899)17.4.5Applying the Slicing (906)17.5Mapping Samples to Zones (912)17.5.1Opening the Zone Page (912)17.5.2Zone Page Overview (913)17.5.3Selecting and Managing Zones in the Zone List (915)17.5.4Selecting and Editing Zones in the Map View (920)17.5.5Editing Zones in the Sample View (924)17.5.6Adjusting the Zone Settings (927)17.5.7Adding Samples to the Sample Map (934)18Appendix: Tips for Playing Live (937)18.1Preparations (937)18.1.1Focus on the Hardware (937)18.1.2Customize the Pads of the Hardware (937)18.1.3Check Your CPU Power Before Playing (937)18.1.4Name and Color Your Groups, Patterns, Sounds and Scenes (938)18.1.5Consider Using a Limiter on Your Master (938)18.1.6Hook Up Your Other Gear and Sync It with MIDI Clock (938)18.1.7Improvise (938)18.2Basic Techniques (938)18.2.1Use Mute and Solo (938)18.2.2Use Scene Mode and Tweak the Loop Range (939)18.2.3Create Variations of Your Drum Patterns in the Step Sequencer (939)18.2.4Use Note Repeat (939)18.2.5Set Up Your Own Multi-effect Groups and Automate Them (939)18.3Special Tricks (940)18.3.1Changing Pattern Length for Variation (940)18.3.2Using Loops to Cycle Through Samples (940)18.3.3Using Loops to Cycle Through Samples (940)18.3.4Load Long Audio Files and Play with the Start Point (940)19Troubleshooting (941)19.1Knowledge Base (941)19.2Technical Support (941)19.3Registration Support (942)19.4User Forum (942)20Glossary (943)Index (951)1Welcome to MASCHINEThank you for buying MASCHINE!MASCHINE is a groove production studio that implements the familiar working style of classi-cal groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instru-ment, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.Creating beats is often not very intuitive with a computer, but using the MASCHINE hardware controller to do it makes it easy and fun. You can tap in freely with the pads or use Note Re-peat to jam along. Alternatively, build your beats using the step sequencer just as in classic drum machines.Patterns can be intuitively combined and rearranged on the fly to form larger ideas. You can try out several different versions of a song without ever having to stop the music.Since you can integrate it into any sequencer that supports VST, AU, or AAX plug-ins, you can reap the benefits in almost any software setup, or use it as a stand-alone application. You can sample your own material, slice loops and rearrange them easily.However, MASCHINE is a lot more than an ordinary groovebox or sampler: it comes with an inspiring 7-gigabyte library, and a sophisticated, yet easy to use tag-based Browser to give you instant access to the sounds you are looking for.What’s more, MASCHINE provides lots of options for manipulating your sounds via internal ef-fects and other sound-shaping possibilities. You can also control external MIDI hardware and 3rd-party software with the MASCHINE hardware controller, while customizing the functions of the pads, knobs and buttons according to your needs utilizing the included Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go-ing!—The MASCHINE team at Native Instruments.MASCHINE Documentation1.1MASCHINE DocumentationNative Instruments provide many information sources regarding MASCHINE. The main docu-ments should be read in the following sequence:1.MASCHINE Getting Started: This document provides a practical approach to MASCHINE viaa set of tutorials covering easy and more advanced tasks in order to help you familiarizeyourself with MASCHINE.2.MASCHINE Manual (this document): The MASCHINE Manual provides you with a compre-hensive description of all MASCHINE software and hardware features.Additional documentation sources provide you with details on more specific topics:▪Controller Editor Manual: Besides using your MASCHINE hardware controller together withits dedicated MASCHINE software, you can also use it as a powerful and highly versatileMIDI controller to pilot any other MIDI-capable application or device. This is made possibleby the Controller Editor software, an application that allows you to precisely define all MIDIassignments for your MASCHINE controller. The Controller Editor was installed during theMASCHINE installation procedure. For more information on this, please refer to the Con-troller Editor Manual available as a PDF file via the Help menu of Controller Editor.▪Online Support Videos: You can find a number of support videos on The Official Native In-struments Support Channel under the following URL: https:///NIsupport-EN. We recommend that you follow along with these instructions while the respective ap-plication is running on your computer.Other Online Resources:If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help:▪Knowledge Base▪User Forum▪Technical Support▪Registration SupportYou will find more information on these subjects in the chapter Troubleshooting.1.2Document ConventionsThis section introduces you to the signage and text highlighting used in this manual. This man-ual uses particular formatting to point out special facts and to warn you of potential issues. The icons introducing these notes let you see what kind of information is to be expected:This document uses particular formatting to point out special facts and to warn you of poten-tial issues. The icons introducing the following notes let you see what kind of information can be expected:Furthermore, the following formatting is used:▪Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software and paths to locations on your hard disk or other storage devices is printed in italics.▪Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in the software is printed in blue. Whenever you see this formatting applied, you will find the same text appearing somewhere on the screen.▪Text appearing on the displays of the controller is printed in light grey. Whenever you see this formatting applied, you will find the same text on a controller display.▪Text appearing on labels of the hardware controller is printed in orange. Whenever you see this formatting applied, you will find the same text on the controller.▪Important names and concepts are printed in bold.▪References to keys on your computer’s keyboard you’ll find put in square brackets (e.g.,“Press [Shift] + [Enter]”).►Single instructions are introduced by this play button type arrow.→Results of actions are introduced by this smaller arrow.Naming ConventionThroughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer.The term “effect” will sometimes be abbreviated as “FX” when referring to elements in the MA-SCHINE software and hardware. These terms have the same meaning.Button Combinations and Shortcuts on Your ControllerMost instructions will use the “+” sign to indicate buttons (or buttons and pads) that must be pressed simultaneously, starting with the button indicated first. E.g., an instruction such as:“Press SHIFT + PLAY”means:1.Press and hold SHIFT.2.While holding SHIFT, press PLAY and release it.3.Release SHIFT.Unlabeled Buttons on the ControllerThe buttons and knobs above and below the displays on your MASCHINE controller do not have labels.。

Arnold渲染器用户指南说明书

Arnold渲染器用户指南说明书

Arnold featuresMemory-efficient, scalable raytracer rendering software helps artists render complex scenes quickly and easily.◆ See what's new (video: 2:31 min.)◆ Get feature details in the Arnold for Maya, Houdini, Cinema 4D, 3ds Max, or Katana user guidesSubsurface scatterHigh-performance ray-traced subsurface scattering eliminates the need to tune point clouds. Hair and furMemory-efficient ray-traced curve primitives help you create complex fur and hair renders.Motion blur3D motion blur interacts with shadows, volumes, indirect lighting, reflection, or refraction. Deformation motion blur and rotational motion are also supported. VolumesThe volumetric rendering system in Arnold can render effects such as smoke, clouds, fog, pyroclastic flow, and fire.InstancesArnold can more efficiently ray trace instances of many scene objects with transformation and material overrides. Subdivision and displacementArnold supports Catmull-Clark subdivision surfaces.OSL supportArnold now features support for Open Shading Language (OSL), an advanced shading language for Global Illumination renderers. Light Path ExpressionsLPEs give you power and flexibility to create Arbitrary Output Variables to help meet the needs of production.NEW|Adaptive samplingAdaptive sampling gives users another means of tuning images, allowing them to reduce render times without jeopardizing final image quality. NEW|Toon shaderAn advanced Toon shader is part of a non-photorealistic solution provided in combination with the Contour Filter.NEW|DenoisingTwo denoising solutions in Arnold offer flexibility by allowing users to use much lower-quality sampling settings. NEW|Material assignments and overrides Operators make it possible to override any part of a scene at render time and enable support for open standard framework such as MaterialX.NEW|Alembic proceduralA native Alembic procedural allows users to render Alembic files directly without any translation.NEW|Profiling API and structured statistics An extensive set of tools allow users to more easily identify performance issues and optimize rendering processes.Standard Surface shaderThis energy-saving, physically based uber shader helps produce a wide range of materials and looks. Standard Hair shaderThis physically based shader is built to render hair and fur, based on the d'Eon and Zinke models for specular and diffuse shading.Flexible and extensible APIIntegrate Arnold in external applications and create custom shaders, cameras, light filters, and output drivers. Stand-alone command-line rendererArnold has a native scene description format stored in human-readable text files. Easily edit, read, and write these files via the C/Python API.◆ See Arnold 5.1 release notesIntegrate Arnold into your pipeline•Free plug-ins provide a bridge to the Arnold renderer from within many popular 3D applications.•Arnold has supported plug-ins available for Maya, Houdini, Cinema 4D, 3ds Max, and Katana.•Arnold is fully customizable, with a powerful API to create custom rendering solutions.◆ See Arnold plug-ins。

Fronts propagating with curvature dependent speed Algorithms Based on Hamilton-Jacobi Formulations

Fronts propagating with curvature dependent speed Algorithms Based on Hamilton-Jacobi Formulations

reaching out into the unburnt gas somehow propagate slower than do concave regions which are hot gases surrounding a small unburnt pocket. At the same time, particles along the flame front undergo an increase in volume as they burn, creating a jump in velocity across the flame front. This discontinuity in the velocity field creates vorticity along the burning flame, which can be related to the local curvature, and this new vorticity field contributes to the advection of the propagating flame. Thus, there are at least two distinct ways in which the speed of the moving flame depends on the local curvature. Typically, there have been two types of numerical algorithms employed in the solution of such problems. The first parameterizes the moving front by some variable and discretizes this parameterization into a set of marker points [39]. The positions of the marker points are updated in time according to approximations to the equations of motion. Such techniques can be extremely accurate in the attempt to follow the motions of small perturbations. However, for large, complex motion, several problems soon occur. First, marker particles come together in regions where the curvature of the propagating front builds, causing numerical instability unless a regridding technique is employed. The regridding mechanism usually contains a error term which resembles diffusion and dominates the real effects of curvature under analysis. Secondly, such methods suffer from topological problems; when two regions "burn" together to form a single one, ad-hoc techniques to eliminate parts of the boundary are required to make the algorithm work. Other algorithms commonly employed fall under the category of "volume of fluid " techniques, which, rather than track the boundary of the propagating front, track the motion of the interior region. An example of this type of algorithm is SLIC [26]. In these algorithms, the interior is discretized, usually by employing a grid on the domain and assigning to each cell a "volume fraction" corresponding to the amount of interior fluid currently located in that cell. An advantage of such techniques is that no new computational elements are required as the calculation progresses (unlike the parameterization methods), and complicated topological boundaries are easily handled, see [4,32]. Unfortunately, it is difficult to calculate the curvature of the front from such a representa-

有关流水线的英语作文

有关流水线的英语作文

有关流水线的英语作文标题,The Advantages and Challenges of Assembly Lines。

Assembly lines have revolutionized manufacturing processes worldwide, streamlining production and increasing efficiency in various industries. From automotive to electronics, assembly lines have become a cornerstone of modern manufacturing. In this essay, we will explore the advantages and challenges associated with assembly lines.Firstly, assembly lines offer unparalleled efficiency. By breaking down the production process into smaller, specialized tasks, assembly lines enable workers to focuson specific tasks, leading to increased productivity and reduced manufacturing time. This division of labor allowsfor the simultaneous production of multiple components, significantly speeding up the assembly process. As a result, companies can produce goods at a faster rate and meet the demands of consumers more effectively.Moreover, assembly lines are highly cost-effective. By optimizing workflow and minimizing idle time, companies can reduce production costs and maximize profits. Therepetitive nature of tasks on assembly lines also enables companies to implement automation and robotics, further driving down labor costs while maintaining consistency and quality. Additionally, assembly lines facilitate bulk production, allowing companies to benefit from economies of scale and negotiate better deals with suppliers, ultimately reducing overall manufacturing costs.Furthermore, assembly lines ensure consistency and quality control. Standardized processes and rigorousquality checks at each stage of the assembly line help minimize defects and ensure that every product meets predefined standards. This reliability is crucial, particularly in industries such as aerospace and healthcare, where product defects can have serious consequences. Assembly lines allow companies to maintain tight control over every aspect of the production process, from raw materials to finished products, ensuring customersatisfaction and brand reputation.However, despite their numerous advantages, assembly lines also pose significant challenges. One such challenge is the risk of worker monotony and fatigue. The repetitive nature of tasks on assembly lines can lead to boredom and decreased morale among workers, potentially impacting productivity and quality. Moreover, the fast-paced environment of assembly lines can be physically demanding, increasing the risk of injuries and occupational health issues among workers. To mitigate these challenges, companies must prioritize employee welfare by implementing regular breaks, ergonomic workstations, and safety protocols.Another challenge associated with assembly lines is inflexibility. The highly specialized nature of tasks on assembly lines can make it difficult for companies to adapt to changes in consumer demand or product specifications. Reconfiguring assembly lines to accommodate new products or production processes can be time-consuming and costly, potentially leading to delays and inefficiencies. To address this challenge, companies must invest in flexiblemanufacturing systems and agile production processes that allow for rapid reconfiguration and adaptation to changing market dynamics.In conclusion, assembly lines have revolutionized modern manufacturing, offering unparalleled efficiency, cost-effectiveness, and quality control. However, they also present challenges such as worker monotony, fatigue, and inflexibility. By addressing these challenges and leveraging the advantages of assembly lines, companies can optimize their production processes and maintain a competitive edge in today's global marketplace.。

学术英语课后答案 unit1

学术英语课后答案  unit1

学术英语理工教师手册Unit 1 Choosing a TopicI Teaching ObjectivesIn this unit , you will learn how to:1.choose a particular topic for your research2.formulate a research question3.write a working title for your research essay4.enhance your language skills related with reading and listening materials presented in this unit II. Teaching Procedures1.Deciding on a topicTask 1Answers may vary.Task 21 No, because they all seem like a subject rather than a topic, a subject which cannot be addressed even by a whole book, let alone by a1500-wordessay.2Each of them can be broken down into various and more specific aspects. For example, cancer can be classified into breast cancer, lung cancer, liver cancer and so on. Breast cancer can have such specific topics for research as causes for breast cancer, effects of breast cancer and prevention or diagnosis of breast cancer.3 Actually the topics of each field are endless. Take breast cancer for example, we can have the topics like:Why Women Suffer from Breast Cancer More Than Men?A New Way to Find Breast TumorsSome Risks of Getting Breast Cancer in Daily LifeBreast Cancer and Its Direct Biological ImpactBreast Cancer—the Symptoms & DiagnosisBreastfeeding and Breast CancerTask 31 Text 1 illustrates how hackers or unauthorized users use one way or another to get inside a computer, while Text2 describes the various electronic threats a computer may face.2 Both focus on the vulnerability of a computer.3 Text 1 analyzes the ways of computer hackers, while Text 2 describes security problems of a computer.4 Text 1: The way hackers “get inside” a computerText 2: Electronic threats a computer facesYes, I think they are interesting, important, manageable and adequate.Task 41Lecture1:Ten Commandments of Computer EthicsLecture 2:How to Deal with Computer HackersLecture 3:How I Begin to Develop Computer Applications2Answersmay vary.Task 5Answers may vary.2 Formulating a research questionTask 1Text 3Research question 1: How many types of cloud services are there and what are they? Research question 2: What is green computing?Research question 3: What are advantages of the cloud computing?Text 4Research question 1: What is the Web 3.0?Research question 2: What are advantages and disadvantages of the cloud computing? Research question 3: What security benefits can the cloud computing provide?Task 22 Topic2: Threats of Artificial IntelligenceResearch questions:1) What are the threats of artificial intelligence?2) How can human beings control those threats?3) What are the difficulties to control those threats?3 Topic3: The Potentials of NanotechnologyResearch questions:1) What are its potentials in medicine?2) What are its potentials in space exploration?3) What are its potentials in communications?4 Topic4: Global Warming and Its EffectsResearch questions:1) How does it affect the pattern of climates?2) How does it affect economic activities?3) How does it affect human behavior?Task 3Answers may vary.3 Writing a working titleTask 1Answers may vary.Task 21 Lecture 4 is about the security problems of cloud computing, while Lecture 5 is about the definition and nature of cloud computing, hence it is more elementary than Lecture 4.2 The four all focus on cloud computing. Although Lecture 4 and Text 4 address the same topic, the former is less optimistic while the latter has more confidence in the security of cloud computing. Text3 illustrates the various advantages of cloud computing.3 Lecture 4: Cloud Computing SecurityLecture 5: What Is Cloud Computing?Task 3Answers may vary.4 Enhancing your academic languageReading: Text 11.Match the words with their definitions.1g 2a 3e 4b 5c 6d 7j 8f 9h 10i2. Complete the following expressions or sentences by using the target words listed below with the help of the Chinese in brackets. Change the form if necessary.1 symbolic 2distributed 3site 4complex 5identify6fairly 7straightforward 8capability 9target 10attempt11process 12parameter 13interpretation 14technical15range 16exploit 17networking 18involve19 instance 20specification 21accompany 22predictable 23profile3. Read the sentences in the box. Pay attention to the parts in bold.Now complete the paragraph by translating the Chinese in brackets. You may refer to the expressions and the sentence patterns listed above.ranging from(从……到)arise from some misunderstandings(来自于对……误解)leaves a lot of problems unsolved(留下很多问题没有得到解决)opens a path for(打开了通道)requires a different frame of mind(需要有新的思想)4.Translate the following sentences from Text 1 into Chinese.1) 有些人声称黑客是那些超越知识疆界而不造成危害的好人(或即使造成危害,但并非故意而为),而“骇客”才是真正的坏人。

XPSPEAK 说明书

XPSPEAK 说明书

Using XPSPEAK Version 4.1 November 2000Contents Page Number XPS Peak Fitting Program for WIN95/98 XPSPEAK Version 4.1 (1)Program Installation (1)Introduction (1)First Version (1)Version 2.0 (1)Version 3.0 (1)Version 3.1 (2)Version 4.0 (2)Version 4.1 (2)Future Versions (2)General Information (from R. Kwok) (3)Using XPS Peak (3)Overview of Processing (3)Appearance (4)Opening Files (4)Opening a Kratos (*.des) text file (4)Opening Multiple Kratos (*.des) text files (5)Saving Files (6)Region Parameters (6)Loading Region Parameters (6)Saving Parameters (6)Available Backgrounds (6)Averaging (7)Shirley + Linear Background (7)Tougaard (8)Adding/Adjusting the Background (8)Adding/Adjusting Peaks (9)Peak Types: p, d and f (10)Peak Constraints (11)Peak Parameters (11)Peak Function (12)Region Shift (13)Optimisation (14)Print/Export (15)Export (15)Program Options (15)Compatibility (16)File I/O (16)Limitations (17)Cautions for Peak Fitting (17)Sample Files: (17)gaas.xps (17)Cu2p_bg.xps (18)Kratos.des (18)ASCII.prn (18)Other Files (18)XPS Peak Fitting Program for WIN95/98 XPSPEAKVersion 4.1Program InstallationXPS Peak is freeware. Please ask RCSMS lab staff for a copy of the zipped 3.3MB file, if you would like your own copyUnzip the XPSPEA4.ZIP file and run Setup.exe in Win 95 or Win 98.Note: I haven’t successfully installed XPSPEAK on Win 95 machines unless they have been running Windows 95c – CMH.IntroductionRaymond Kwok, the author of XPSPEAK had spent >1000 hours on XPS peak fitting when he was a graduate student. During that time, he dreamed of many features in the XPS peak fitting software that could help obtain more information from the XPS peaks and reduce processing time.Most of the information in this users guide has come directly from the readme.doc file, automatically installed with XPSPEAK4.1First VersionIn 1994, Dr Kwok wrote a program that converted the Kratos XPS spectral files to ASCII data. Once this program was finished, he found that the program could be easily converted to a peak fitting program. Then he added the dreamed features into the program, e.g.∙ A better way to locate a point at a noise baseline for the Shirley background calculations∙Combine the two peaks of 2p3/2 and 2p1/2∙Fit different XPS regions at the same timeVersion 2.0After the first version and Version 2.0, many people emailed Dr Kwok and gave additional suggestions. He also found other features that could be put into the program.Version 3.0The major change in Version 3.0 is the addition of Newton’s Method for optimisation∙Newton’s method can greatly reduce the optimisation time for multiple region peak fitting.Version 3.11. Removed all the run-time errors that were reported2. A Shirley + Linear background was added3. The Export to Clipboard function was added as requested by a user∙Some other minor graphical features were addedVersion 4.0Added:1. The asymmetrical peak function. See note below2. Three additional file formats for importing data∙ A few minor adjustmentsThe addition of the Asymmetrical Peak Function required the peak function to be changed from the Gaussian-Lorentzian product function to the Gaussian-Lorentzian sum function. Calculation of the asymmetrical function using the Gaussian-Lorentzian product function was too difficult to implement. The software of some instruments uses the sum function, while others use the product function, so both functions are available in XPSPEAK.See Peak Function, (Page 12) for details of how to set this up.Note:If the selection is the sum function, when the user opens a *.xps file that was optimised using the Gaussian-Lorentzian product function, you have to re-optimise the spectra using the Gaussian-Lorentzian sum function with a different %Gaussian-Lorentzian value.Version 4.1Version 4.1 has only two changes.1. In version 4.0, the printed characters were inverted, a problem that wasdue to Visual Basic. After about half year, a patch was received from Microsoft, and the problem was solved by simply recompiling the program2. The import of multiple region VAMAS file format was addedFuture VersionsThe author believes the program has some weakness in the background subtraction routines. Extensive literature examination will be required in order to revise them. Dr Kwok intends to do that for the next version.General Information (from R. Kwok)This version of the program was written in Visual Basic 6.0 and uses 32 bit processes. This is freeware. You may ask for the source program if you really want to. I hope this program will be useful for people without modern XPS software. I also hope that the new features in this program can be adopted by the XPS manufacturers in the later versions of their software.If you have any questions/suggestions, please send an email to me.Raymund W.M. KwokDepartment of ChemistryThe Chinese University of Hong KongShatin, Hong KongTel: (852)-2609-6261Fax:(852)-2603-5057email: rmkwok@.hkI would like to thank the comments and suggestions from many people. For the completion of Version 4.0, I would like to think Dr. Bernard J. Flinn for the routine of reading Leybold ascii format, Prof. Igor Bello and Kelvin Dickinson for providing me the VAMAS files VG systems, and my graduate students for testing the program. I hope I will add other features into the program in the near future.R Kwok.Using XPS PeakOverview of Processing1. Open Required Files∙See Opening Files (Page 4)2. Make sure background is there/suitable∙See Adding/Adjusting the Background, (Page 8)3. Add/adjust peaks as necessary∙See Adding/Adjusting Peaks, (Page 9), and Peak Parameters, (Page 11)4. Save file∙See Saving Files, (Page 6)5. Export if necessary∙See Print/Export, (Page 15)AppearanceXPSPEAK opens with two windows, one above the other, which look like this:∙The top window opens and displays the active scan, adds or adjusts a background, adds peaks, and loads and saves parameters.∙The lower window allows peak processing and re-opening and saving dataOpening FilesOpening a Kratos (*.des) text file1. Make sure your data files have been converted to text files. See the backof the Vision Software manual for details of how to do this. Remember, from the original experiment files, each region of each file will now be a separate file.2. From the Data menu of the upper window, choose Import (Kratos)∙Choose directory∙Double click on the file of interest∙The spectra open with all previous processing INCLUDEDOpening Multiple Kratos (*.des) text files∙You can open up a maximum of 10 files together.1. Open the first file as above∙Opens in the first region (1)2. In the XPS Peak Processing (lower) window, left click on 2(secondregion), which makes this region active3. Open the second file as in Step2, Opening a Kratos (*.des) text file,(Page 4)∙Opens in the second region (2)∙You can only have one description for all the files that are open. Edit with a click in the Description box4. Open further files by clicking on the next available region number thenfollowing the above step.∙You can only have one description for all the files that are open. Edit with a click in the Description boxDescriptionBox 2∙To open a file that has already been processed and saved using XPSPEAK, click on the Open XPS button in the lower window. Choose directory and file as normal∙The program can store all the peak information into a *.XPS file for later use. See below.Saving Files1. To save a file click on the Save XPS button in the lower window2. Choose Directory3. Type in a suitable file name4. Click OK∙Everything that is open will be saved in this file∙The program can also store/read the peak parameter files (*.RPA)so that you do not need to re-type all the parameters again for a similar spectrum.Region ParametersRegion Parameters are the boundaries or limits you have used to set up the background and peaks for your files. These values can be saved as a file of the type *.rpa.Note that these Region Parameters are completely different from the mathematical parameters described in Peak Parameters, (Page 11) Loading Region Parameters1. From the Parameters menu in the upper window, click on Load RegionParameters2. Choose directory and file name3. Click on Open buttonSaving Parameters1. From the Parameters menu in the XPS Peak Fit (Upper) window, clickon Save Region Parameters2. Choose directory and file name3. Click on the Save buttonAvailable BackgroundsThis program provides the background choices of∙Shirley∙Linear∙TougaardAveraging∙ Averaging at the end points of the background can reduce the time tofind a point at the middle of a noisy baseline∙ The program includes the choices of None (1 point), 3, 5, 7, and 9point average∙ This will average the intensities around the binding energy youselect.Shirley + Linear Background1. The Shirley + Linear background has been added for slopingbackgrounds∙ The "Shirley + Linear" background is the Shirley background plus astraight line with starting point at the low BE end-point and with a slope value∙ If the slope value is zero , the original Shirley calculation is used∙ If the slope value is positive , the straight line has higher values atthe high BE side, which can be used for spectra with higher background intensities at the high BE side∙ Similarly, a negative slope value can be used for a spectrum withlower background intensities at the high BE side2. The Optimization button may be used when the Shirley background is higher at some point than the signal intensities∙ The program will increase the slope value until the Shirleybackground is below the signal intensities∙ Please see the example below - Cu2p_bg.xps - which showsbackground subtraction using the Shirley method (This spectrum was sent to Dr Kwok by Dr. Roland Schlesinger).∙ A shows the problematic background when the Shirley backgroundis higher than the signal intensities. In the Shirley calculation routine, some negative values were generated and resulted in a non-monotonic increase background∙ B shows a "Shirley + Linear" background. The slope value was inputby trial-and-error until the background was lower than the signal intensities∙ C was obtained using the optimisation routineA slope = 0B slope = 11C slope = 15.17Note: The background subtraction calculation cannot completely remove the background signals. For quantitative studies, the best procedure is "consistency". See Future Versions, (Page 2).TougaardFor a Tougaard background, the program can optimise the B1 parameter by minimising the "square of the difference" of the intensities of ten data points in the high binding energy side of the range with the intensities of the calculated background.Adding/Adjusting the BackgroundNote: The Background MUST be correct before Peaks can be added. As with all backgrounds, the range needs to include as much of your peak as possible and as little of anything else as possible.1. Make sure the file of interest is open and the appropriate region is active2. Click on Background in the upper window∙The Region 0 box comes up, which contains the information about the background3. Adjust the following as necessary. See Note.∙High BE (This value needs to be within the range of your data) ∙Low BE (This value needs to be within the range of your data) NOTE: High and Low BE are not automatically within the range of your data. CHECK CAREFULLY THAT BOTH ENDS OF THE BACKGROUND ARE INSIDE THE EDGE OF YOUR DATA. Nothing will happen otherwise.∙No. of Ave. Pts at end-points. See Averaging, (Page 7)∙Background Type∙Note for Shirley + Linear:To perform the Shirley + Linear Optimisation routine:a) Have the file of interest openb) From the upper window, click on Backgroundc) In the resulting box, change or optimise the Shirley + LinearSlope as desired∙Using Optimize in the Shirley + Linear window can cause problems. Adjust manually if necessary3. Click on Accept when satisfiedAdding/Adjusting PeaksNote: The Background MUST be correct before peaks can be added. Nothing will happen otherwise. See previous section.∙To add a peak, from the Region Window, click on Add Peak ∙The peak window appears∙This may be adjusted as below using the Peak Window which will have opened automaticallyIn the XPS Peak Processing (lower) window, there will be a list of Regions, which are all the open files, and beside each of these will be numbers representing the synthetic peaks included in that region.Regions(files)SyntheticPeaks1. Click on a region number to activate that region∙The active region will be displayed in the upper window2. Click on a peak number to start adjusting the parameters for that peak.∙The Processing window for that peak will open3. Click off Fix to adjust the following using the maximum/minimum arrowkeys provided:∙Peak Type. (i.e. orbital – s, p, d, f)∙S.O.S (Δ eV between the two halves of the peak)∙Position∙FWHM∙Area∙%Lorenzian-Gaussian∙See the notes for explanations of how Asymmetry works.4. Click on Accept when satisfiedPeak Types: p, d and f.1. Each of these peaks combines the two splitting peaks2. The FWHM is the same for both the splitting peaks, e.g. a p-type peakwith FWHM=0.7eV is the combination of a p3/2 with FWHM at 0.7eV anda p1/2 with FWHM at 0.7eV, and with an area ratio of 2 to 13. If the theoretical area ratio is not true for the split peaks, the old way ofsetting two s-type peaks and adding the constraints should be used.∙The S.O.S. stands for spin orbital splitting.Note: The FWHM of the p, d or f peaks are the FWHM of the p3/2,d5/2 or f7/2, respectively. The FWHM of the combined peaks (e.g. combination of p3/2and p1/2) is shown in the actual FWHM in the Peak Parameter Window.Peak Constraints1. Each parameter can be referenced to the same type of parameter inother peaks. For example, for four peaks (Peak #0, 1, 2 and 3) with known relative peak positions (0.5eV between adjacent peaks), the following can be used∙Position: Peak 1 = Peak 0 + 0.5eV∙Position: Peak 2 = Peak 1 + 0.5eV∙Position: Peak 3 = Peak 2 + 0.5eV2. You may reference to any peak except with looped references.3. The optimisation of the %GL value is allowed in this program.∙ A suggestion to use this feature is to find a nice peak for a certain setting of your instrument and optimise the %GL for this peak.∙Fix the %GL in the later peak fitting process when the same instrument settings were used.4. This version also includes the setting of the upper and lower bounds foreach parameter.Peak ParametersThis program uses the following asymmetric Gaussian-Lorentzian sumThe program also uses the following symmetrical Gaussian-Lorentzian product functionPeak FunctionNote:If the selection is the sum function, when the user opens a *.xps file that was optimised using the Gaussian-Lorentzian product function, you have to re-optimise the spectra using the Gaussian-Lorentzian sum function with a different %Gaussian-Lorentzian value.∙You can choose the function type you want1. From the lower window, click on the Options button∙The peak parameters box comes up∙Select GL sum for the Gaussian-Lorentzian sum function∙Select GL product for the Gaussian-Lorentzian product function. 2. For the Gaussian-Lorentzian sum function, each peak can have sixparameters∙Peak Position∙Area∙FWHM∙%Gaussian-Lorentzian∙TS∙TLIf anyone knows what TS or TL might be, please let me know. Thanks, CMH3. Each peak in the Gaussian-Lorentzian product function can have fourparameters∙Peak Position∙Area∙FWHM∙%Gaussian-LorentzianSince peak area relates to the atomic concentration directly, we use it as a peak parameter and the peak height will not be shown to the user.Note:For asymmetric peaks, the FWHM only refers to the half of the peak that is symmetrical. The actual FWHM of the peak is calculated numerically and is shown after the actual FWHM in the Peak Parameter Window. If the asymmetric peak is a doublet (p, d or f type peak), the actual FWHM is the FWHM of the doublet.Region ShiftA Region Shift parameter was added under the Parameters menu∙Use this parameter to compensate for the charging effect, the fermi level shift or any change in the system work function∙This value will be added to all the peak positions in the region for fitting purposes.An example:∙ A polymer surface is positively charged and all the peaks are shifted to the high binding energy by +0.5eV, e.g. aliphatic carbon at 285.0eV shifts to 285.5eV∙When the Region Shift parameter is set to +0.5eV, 0.5eV will be added to all the peak positions in the region during peak fitting, but the listed peak positions are not changed, e.g. 285.0eV for aliphatic carbon. Note: I have tried this without any actual shift taking place. If someone finds out how to perform this operation, please let me know. Thanks, CMH.In the meantime, I suggest you do the shift before converting your files from the Vision Software format.OptimisationYou can optimise:1. A single peak parameter∙Use the Optimize button beside the parameter in the Peak Fitting window2. The peak (the peak position, area, FWHM, and the %GL if the "fix" box isnot ticked)∙Use the Optimize Peak button at the base of the Peak Fitting window3. A single region (all the parameters of all the peaks in that region if the"fix" box is not ticked)∙Use the Optimize Region menu (button) in the upper window4. All the regions∙Use the Optimize All button in the lower window∙During any type of optimisation, you can press the "Stop Fitting" button and the program will stop the process in the next cycle.Print/ExportIn the XPS Peak Fit or Region window, From the Data menu, choose Export or Print options as desiredExport∙The program can export the ASCII file of spectrum (*.DAT) for making high quality figures using other software (e.g. SigmaPlot)∙It can export the parameters (*.PAR) for further calculations (e.g. use Excel for atomic ratio calculations)∙It can also copy the spectral image to the system clipboard so that the spectral image can be pasted into a document (e.g. MS WORD). Program Options1. The %tolerance allows the optimisation routine to stop if the change inthe difference after one loop is less that the %tolerance2. The default setting of the optimisation is Newton's method∙This method requires a delta value for the optimisation calculations ∙You may need to change the value in some cases, but the existing setting is enough for most data.3. For the binary search method, it searches the best fit for each parameterin up to four levels of value ranges∙For example, for a peak position, in first level, it calculates the chi^2 when the peak position is changed by +2eV, +1.5eV, +1eV, +0.5eV,-0.5eV, -1eV, -1.5eV, and -2eV (range 2eV, step 0.5eV) ∙Then, it selects the position value that gives the lowest chi^2∙In the second level, it searches the best values in the range +0.4eV, +0.3eV, +0.2eV, +0.1eV, -0.1eV, -0.2eV, -0.3eV, and -0.4eV (range0.4eV, step 0.1eV)∙In the third level, it selects the best value in +0.09eV, +0.08eV, ...+0.01eV, -0.01eV, ...-0.09eV∙This will give the best value with two digits after decimal∙Level 4 is not used in the default setting∙The range setting and the number of levels in the option window can be changed if needed.4. The Newton's Method or Binary Search Method can be selected byclicking the "use" selection box of that method.5. The selection of the peak function is also in the Options window.6. The user can save/read the option parameters with the file extension*.opa∙The program reads the default.opa file at start up. Therefore, the user can customize the program options by saving the selectionsinto the default.opa file.CompatibilityThe program can read:∙Kratos text (*.des) files together with the peak fitting parameters in the file∙The ASCII files exported from Phi's Multiplex software∙The ASCII files of Leybold's software∙The VAMAS file format∙For the Phi, Leybold and VAMAS formats, multiple regions can be read∙For the Phi format, if the description contains a comma ",", the program will give an error. (If you get the error, you may use any texteditor to remove the comma)The program can also import ASCII files in the following format:Binding Energy Value 1 Intensity Value 1Binding Energy Value 2 Intensity Value 2etc etc∙The B.E. list must be in ascending or descending order, and the separation of adjacent B.E.s must be the same∙The file cannot have other lines before and after the data∙Sometimes, TAB may cause a reading error.File I/OThe file format of XPSPEAK 4.1 is different from XPSPEAK 3.1, 3.0 and 2.0 ∙XPSPEAK 4.1 can read the file format of XPSPEAK 3.1, 3.0 and 2.0, but not the reverse∙File format of 4.1 is the same as that of 4.0.LimitationsThis program limits the:∙Maximum number of points for each spectrum to 5000∙Maximum of peaks for all the regions to 51∙For each region, the maximum number of peaks is 10. Cautions for Peak FittingSome graduate students believe that the fitting parameters for the best fitted spectrum is the "final answer". This is definitely not true. Adding enough peaks can always fit a spectrum∙Peak fitting only assists the verification of a model∙The user must have a model in mind before adding peaks to the spectrum!Sample Files:gaas.xpsThis file contains 10 spectra1. Use Open XPS to retrieve the file. It includes ten regions∙1-4 for Ga 3d∙5-8 for Ga 3d∙9-10 for S 2p2. For the Ga 3d and As 3d, the peaks are d-type with s.o.s. = 0.3 and 0.9respectively3. Regions 4 and 8 are the sample just after S-treatment4. Other regions are after annealing5. Peak width of Ga 3d and As 3d are constrained to those in regions 1 and56. The fermi level shift of each region was determined using the As 3d5/2peak and the value was put into the "Region Shift" of each region7. Since the region shift takes into account the Fermi level shift, the peakpositions can be easily referenced for the same chemical components in different regions, i.e.∙Peak#1, 3, 5 of Ga 3d are set equal to Peak#0∙Peak#8, 9, 10 of As 3d are set equal to Peak#78. Note that the %GL value of the peaks is 27% using the GL sum functionin Version 4.0, while it is 80% using the GL product function in previous versions.18 Cu2p_bg.xpsThis spectrum was sent to me by Dr. Roland Schlesinger. It shows a background subtraction using the Shirley + Linear method∙See Shirley + Linear Background, (Page 7)Kratos.des∙This file shows a Kratos *.des file∙This is the format your files should be in if they have come from the Kratos instrument∙Use import Kratos to retrieve the file. See Opening Files, (Page 4)∙Note that the four peaks are all s-type∙You may delete peak 2, 4 and change the peak 1,3 to d-type with s.o.s. = 0.7. You may also read in the parameter file: as3d.rpa. ASCII.prn∙This shows an ASCII file∙Use import ASCII to retrieve the file∙It is a As 3d spectrum of GaAs∙In order to fit the spectrum, you need to first add the background and then add two d-type peaks with s.o.s.=0.7∙You may also read in the parameter file: as3d.rpa.Other Files(We don’t have an instrument that produces these files at Auckland University., but you may wish to look at them anyway. See the readme.doc file for more info.)1. Phi.asc2. Leybold.asc3. VAMAS.txt4. VAMASmult.txtHave Fun! July 1, 1999.。

化工原理英文教材流体流动的基本方程Basic equations of fluid flow

化工原理英文教材流体流动的基本方程Basic equations of fluid flow
S o, S S, p p 0
F Mb Ma
The momentum flow rate M of a fluid tream having a mass flow rate m and all moving at a velocity u equals mu
F mub ua
It is true if the velocity u is an average velocity at the cross section.
Ma a
Mb b
Assuming that the flow is steady and flows in the x direction.
The sum of forces acting in the x direction equals the difference between the momentum leaving with the fluid per unit time and that brought in per unit time by the fluid or
If u varies from point to point in the cross section of stream, however, the total momentum flow does not equal the product of mass flow rate and average velocity
the component of the gravity in the direction of flow
Fg cos A 0
From this equation, noting that A=bL and Fg=ρrLbg
So

Surfing Thrill

Surfing Thrill

**Surfing Thrill**Surfing, a sport that embodies the essence of adventure and freedom, is a source of endless thrills.The expression direction will focus on highlighting the exhilarating and captivating nature of surfing. The article structure will begin with an introduction to surfing as a pursuit of thrill, then describe the surfing experience in detail, followed by an exploration of its benefits, and end with an inspiring call to embrace the thrill of surfing.Now, picture a vast ocean with rolling waves. The surfer paddles out with determination, arms stroking through the water. As a wave approaches, a sense of anticipation builds. The surfer positions themselves carefully, then pops up on the board with grace and agility. Once standing, it's a balancing act as the wave propels them forward. The movements are fluid and in sync with the power of the ocean.As for equipment, a quality surfboard that suits the surfer's skill level, a leash to keep the board attached, and a wetsuit for protection and warmth are essential. The ocean becomes a playground of excitement.The feeling of surfing is indescribable. It's a rush of adrenaline as you ride the wave, a sense of oneness with nature. There's a thrill in conquering the powerful forces of the sea and feeling the spray on your face. It's like being on a wild roller coaster ride that never ends.Regarding the benefits, physically, surfing is a great workout. It builds strength in the core, arms, and legs. It improves balance and coordination. It's like a natural fitness regimen. Mentally, it reduces stress and clears the mind. The beauty of the ocean and the focus on the wave soothe the soul. As the saying goes, "The sea, once it casts its spell, holds one in its net of wonder forever." Surfing casts a spell that rejuvenates the mind. Socially, surfing brings people together. Surfing communities share a love for the ocean and a sense of camaraderie. It creates bonds and memories that last a lifetime.In conclusion, surfing is not just a sport; it's a thrill that enriches our lives. So grab your board, head to the ocean, and let the thrill of surfing take you on an unforgettable journey. As Mark Twain once said, "Twenty years from now you will be more disappointed by the things that you didn't do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover." Let surfing be your adventure and discovery.After a careful grammar and spelling check, the expression has been optimized for clarity and impact. The format is presented in an engaging and organized way to captivate the reader.。

单一波浪线折线图英语作文

单一波浪线折线图英语作文

单一波浪线折线图英语作文英文回答:Introduction.Single-wave sine graphs are a type of trigonometric function that can be used to model a variety of periodic phenomena, such as sound waves, light waves, and ocean waves. The equation for a single-wave sine function is:y = A sin(Bx + C) + D.where:A is the amplitude of the wave, which is the maximum displacement of the wave from its equilibrium position.B is the angular frequency of the wave, which is related to the period of the wave (T) by the equation:B = 2π/T.C is the phase shift of the wave, which determines the horizontal displacement of the wave from its equilibrium position at time t = 0.D is the vertical shift of the wave, which determines the vertical displacement of the wave from its equilibrium position.Properties of Single-Wave Sine Graphs.Single-wave sine graphs have a number of characteristic properties, including:Periodicity: Single-wave sine graphs are periodic, meaning that they repeat their pattern over a regular interval. The period of a single-wave sine graph is equal to 2π/B.Amplitude: The amplitude of a single-wave sine graph is the maximum displacement of the wave from itsequilibrium position.Frequency: The frequency of a single-wave sine graph is the number of cycles that the wave completes in one second. The frequency of a single-wave sine graph is equal to 1/T.Phase shift: The phase shift of a single-wave sine graph is the horizontal displacement of the wave from its equilibrium position at time t = 0.Vertical shift: The vertical shift of a single-wave sine graph is the vertical displacement of the wave from its equilibrium position.Applications of Single-Wave Sine Graphs.Single-wave sine graphs have a wide variety of applications in science and engineering, including:Modeling periodic phenomena: Single-wave sine graphs can be used to model a variety of periodic phenomena, suchas sound waves, light waves, and ocean waves.Analyzing data: Single-wave sine graphs can be used to analyze data that exhibits a periodic pattern.Designing filters: Single-wave sine graphs can be used to design filters that can remove or amplify specific frequencies from a signal.Generating waveforms: Single-wave sine graphs can be used to generate waveforms for a variety of applications, such as audio synthesis and signal processing.中文回答:导言。

producer generated content

producer generated content

producer generated contentProducer generated content refers to media content that is created by producers rather than by consumers or users. It typically includes films, television shows, music albums, video games, and other forms of entertainment or information that are produced and distributed by professional producers or production companies.Producer generated content is often high quality and professionally produced, with large budgets and resources dedicated to its creation. It can be found on various platforms such as television networks, streaming services, movie theaters, and record labels.Unlike user-generated content, where individuals or amateurs create and share content on platforms like social media, producer generated content is typically created by professionals and companies with expertise and experience in the industry. It undergoes a more rigorous production process, including pre-production, production, and post-production stages.Producer generated content plays a significant role in shaping popular culture and influencing public opinion. It often features well-known actors, musicians, and other celebrities, which can attract a large audience and gain media attention. Additionally, producer generated content is regulated by industry standards and guidelines, ensuring a certain level of quality and compliance with legal and ethical standards.However, the rise of user-generated content and digital platforms has challenged the dominance of producer generated content. The democratization of media production and distribution has allowedindividuals and small groups to create and share their own content, reaching wide audiences through social media, YouTube, and other platforms. This has led to a more diverse and participatory media landscape, where user-generated content can compete with or complement producer-generated content.。

沙雕视频的英语作文

沙雕视频的英语作文

In recent years,a new form of entertainment has gained popularity on the internet: sand sculpture videos,or as they are more commonly known,sand art videos.These videos showcase the creation of intricate and detailed sculptures using sand as the primary medium.The artistry involved in this form of expression is truly mesmerizing and has captured the attention of audiences worldwide.The Art of Sand SculptureSand sculpture,an ancient art form,has been elevated to new heights with the advent of video technology.Artists now have the ability to capture the process of creating these ephemeral works of art in high definition,allowing viewers to appreciate the nuances of each grain of sand as it is meticulously placed.The ProcessThe process of creating a sand sculpture video is both timeconsuming and meticulous. Artists begin by selecting the right type of sand,which must be moist enough to hold its shape but dry enough to prevent clumping.They then sketch out their design,either on paper or directly onto the sand surface.Using a variety of tools,from simple spoons to specialized sculpting implements,artists carefully carve and shape the sand.Each layer is built upon the previous one,with the artist constantly adjusting and refining the form.The process requires a steady hand and a keen eye for detail.Technological AdvancementsWith the rise of highdefinition cameras and slowmotion capabilities,sand sculpture videos have become even more captivating.Viewers can now see the artists hand movements in exquisite detail,and the slowmotion effects reveal the fluidity and grace of the sand as it is manipulated.Cultural ImpactSand sculpture videos have had a significant cultural impact.They have introduced a new generation to the beauty of sand art and have inspired many to try their hand at creating their own sculptures.Additionally,these videos have served as a platform for artists to share their work with a global audience,breaking down geographical barriers and fostering a sense of community among sand artists worldwide.Environmental ConsiderationsIt is important to note that sand sculpture,while beautiful,is an art form that is inherently temporary.The sculptures are subject to the elements and often do not last beyond a few days or weeks.This impermanence is a reminder of the fleeting nature of life and the importance of appreciating beauty in the moment.ConclusionSand sculpture videos are a testament to human creativity and the enduring appeal of art forms that connect us with the natural world.As technology continues to advance,we can expect to see even more innovative ways in which artists will use sand to express their visions.Whether for the enjoyment of viewers or as a means of personal expression,sand sculpture videos will undoubtedly continue to captivate and inspire.。

AI in Content Creation and Curation

AI in Content Creation and Curation

AI in Content Creation and CurationArtificial intelligence (AI) has revolutionized many industries, and content creation and curation are no exceptions. With the advancements in machine learning and natural language processing, AI has become a powerful tool that can aid in generating, organizing, and optimizing content in various forms. In this article, we will explore how AI is being used in content creation and curation, the benefits it brings, and the challenges that come with it.One of the most significant impacts of AI in content creation is its ability to generate high-quality content at a rapid pace. Content creation platforms powered by AI can analyze data from various sources, identify trends, and produce relevant and engaging articles, blog posts, social media updates, and more. This helps businesses and content creators save time and resources while maintaining a consistent and engaging online presence.Another key application of AI in content creation is personalization. By analyzing user data and behavior, AI can tailor content to the preferences and interests of individual users. This results in a more personalized and engaging experience for the audience, leading to higher engagement levels and better conversion rates. Personalization is essential in today's saturated digital landscape, where consumers expect relevant and tailored content from brands.In addition to content creation, AI is also being used in content curation. Content curation involves selecting, organizing, and presenting content from various sources to provide value to audiences. AI-powered content curation platforms can analyze vast amounts of data to identify and curate relevant and trending content, saving time for content creators and helping them stay up-to-date with the latest industry trends.One of the key benefits of using AI in content curation is the ability to maintain a consistent flow of fresh and relevant content. With the vast amount of information available online, it can be challenging for content creators to keep up with the latest newsand trends. AI-powered curation tools can help automate this process, ensuring that content is always up-to-date and engaging for the audience.Moreover, AI can also help in optimizing content for search engines and improving its discoverability. By analyzing keywords, metadata, and user behavior, AI can suggest ways to enhance content and make it more visible to search engines. This can help content creators improve their organic reach and attract more traffic to their websites and platforms.Despite the numerous benefits of using AI in content creation and curation, there are also some challenges that come with it. One of the main concerns is the potential loss of creativity and human touch in content generation. While AI can assist in generating content, it may lack the emotional intelligence and creativity that human writers bring to their work. Maintaining a balance between AI-generated content and human-created content is essential to ensure that the voice and authenticity of a brand are preserved.Another challenge is the ethical implications of using AI in content creation and curation. AI algorithms can sometimes perpetuate biases and stereotypes present in the data they are trained on, leading to unintentional discrimination or misinformation in content. Content creators need to be vigilant in monitoring and addressing these ethical concerns to ensure that their content is fair and accurate.In conclusion, AI has transformed the way content is created and curated, offering numerous benefits in terms of efficiency, personalization, and optimization. By leveraging the power of AI, content creators can enhance their content strategies, engage with their audiences more effectively, and stay competitive in a fast-paced digital landscape. However, it is essential to be mindful of the challenges and ethical considerations that come with using AI in content creation and curation to ensure that content remains authentic and valuable to audiences.。

英语作文思路断断续续

英语作文思路断断续续

英语作文思路断断续续Captivated by the allure of the English language, one might find themselves embarking on a journey to craft an essay, only to be met with the frustrating realization that their thoughts are as scattered as autumn leaves in a gust of wind. The quest for coherent prose begins with a single step, yet the path is fraught with the pitfalls of disjointed ideas and fragmented sentences. The mind, a fertile ground for creativity, can sometimes be a labyrinth of confusion, where the seeds of inspiration are sown only to be lost in the undergrowth of uncertainty.The struggle is real, as one attempts to weave a tapestry of words that flow seamlessly, only to find that the threads are tangled, and the pattern is unclear. The urge to express oneself is palpable, yet the words seem to hide, elusive and shy, refusing to form the sentences that would convey the intended message. It's as if the English language, with its rich vocabulary and complex grammar, has turned into a maze, where every turn leads to a dead end, and the exit is nowhere in sight.But fear not, for even in the midst of this linguistic chaos, there is a method to the madness. The key lies in the art of brainstorming, where thoughts are allowed to flow freely, like a river that carves its path through the landscape. It's about capturing those fleeting ideas, jotting them down without judgment, and then, with a discerning eye,piecing them together like a puzzle. The process is iterative, a dance of addition and subtraction, where sentences are both born and discarded in the pursuit of clarity and eloquence.Moreover, the discipline of outlining can serve as a compass, guiding the writer through the dense forest of their thoughts. It provides a skeletal structure upon which theflesh of the essay can be built, ensuring that the narrativeis not only coherent but also compelling. And when the words seem to fail, the power of reading can be a lifeline,offering insights into how others have navigated the same treacherous waters.In the end, the断断续续 of the English essay writing process is not a sign of failure, but rather a testament tothe complexity of the task at hand. It is a reminder thateven the most eloquent of writers have faced the same challenges, and it is through perseverance, practice, and a willingness to embrace the chaos that the flow of words will eventually find its rhythm, and the essay will come to life.。

流线设计英语作文

流线设计英语作文

流线设计英语作文Title: The Art of Streamlined Design。

In the realm of design, the concept of streamlining holds a revered status. It encompasses more than just the visual appeal; it embodies efficiency, elegance, and functionality. From automotive design to architecture, from product design to user interface, the principles of streamlined design are omnipresent, shaping our world in subtle yet significant ways.At its core, streamlined design seeks to eliminate unnecessary elements, reducing complexity while enhancing performance. It prioritizes sleekness, smoothness, and simplicity, often inspired by nature's own efficiency. Whether it's the aerodynamic curves of a sports car or the minimalist layout of a smartphone interface, streamlining aims to optimize user experience while maintaining aesthetic allure.One of the quintessential examples of streamlined design lies in transportation, particularly in the automotive industry. Vehicles crafted with streamlined principles boast improved fuel efficiency, reduced wind resistance, and enhanced maneuverability. Take, for instance, the iconic designs of the 20th century, such as the Volkswagen Beetle or the Chevrolet Corvette. Their timeless silhouettes epitomize the marriage of form and function, where every contour serves a purpose beyond mere aesthetics.Moreover, streamlined design extends its influence beyond tangible objects into digital realms. In the era of smartphones and tablets, users expect interfaces to be intuitive and clutter-free. Companies invest heavily in user experience (UX) design to ensure their products align with streamlined principles, fostering seamless interaction and engagement. The success of tech giants like Apple can be attributed, in part, to their commitment to minimalist design, evident in the clean lines and intuitive interfaces of their products.Architecture, too, embraces the ethos of streamlined design. Modern skyscrapers feature sleek facades and efficient layouts, maximizing space while minimizing environmental impact. Architects draw inspiration from natural forms, incorporating organic shapes and materials to create buildings that harmonize with their surroundings. The Burj Khalifa in Dubai stands as a testament to this ethos, its towering yet graceful form symbolizing the marriage of human ingenuity with natural elegance.In product design, streamlining transcends mere aesthetics to address sustainability and usability. Eco-conscious consumers gravitate towards products with minimal packaging and eco-friendly materials, reflecting a growing appreciation for simplicity and sustainability. Designers innovate with renewable materials and modular designs, catering to a market increasingly mindful of its environmental footprint.However, achieving streamlined design is not withoutits challenges. Balancing form and function requires meticulous attention to detail and a deep understanding ofuser needs. Designers must navigate technological constraints, market trends, and cultural preferences to create solutions that resonate with their audience. Iterative prototyping and user testing play crucial roles in refining designs, ensuring they meet the highest standards of efficiency and elegance.In conclusion, streamlined design represents the pinnacle of aesthetic and functional excellence across various disciplines. From automotive marvels to digital interfaces, from architectural wonders to sustainable products, the principles of streamlining continue to shape our world in profound ways. As designers strive to push the boundaries of innovation, the legacy of streamlined design will endure, inspiring generations to come with its timeless elegance and efficiency.。

新东方PTE模考

新东方PTE模考

新东方PTE模考1. Look at the text below. In 40 seconds, you must read this text aloud as naturally and clearly as possible. You have 40 seconds to read aloud.Statistics reflect vital information about the economy, the well-being of the population, and the environment. Society relies on statistics being visible. accessible and robust, and on statistically literate people making the best use of the information to determine future action. Statistical literacy, then, is the ability to accurately understand, interpret and evaluate the data that inform these issues. [填空题]_________________________________2. Look at the text below. In 40 seconds, you must read this text aloud as naturally and clearly as possible. You have 40 seconds to read aloud.Housing fulfills the basic needs that people have for security, privacy and shelter. While the adequacy of housing is an important component of individual well-being, housing also has great impact on the nation's economy, with its influence on investment levels, interest rates, building activity and employment. [填空题]_________________________________3. Look at the text below. In 40 seconds, you must read this text aloud as naturally and clearly as possible. You have 40 seconds to read aloud.Being physically active benefits people's health significantly, including reduCing the risk of some chronic conditions, helping to control weight and improving mental health. In recent decades, there has been a decline in physical activity because more people work in offices rather than in manual jobs. [填空题]_________________________________4. Look at the text below. In 40 seconds, you must read this text aloud as naturally and clearly as possible. You have 40 seconds to read aloud.Students who wish to take a break from their studies will need to put in an application for Leave of Absence. If your application is successful, you will be notified via email. At the end of your Leave of Absence, you must re-enrol at Student Services and in the subjects you intend to study. [填空题]_________________________________5. Look at the text below. In 40 seconds, you must read this text aloud as naturally and clearly as possible. You have 40 seconds to read aloud.There are a number of tests available which can suggest if a person is telling the truth, but knowing which ones are accurate is not easy. A newly created test is claimed to be the most accurate yet in lie detection. However, questions have been raised about its accuracy and ethics. [填空题]_________________________________6. Look at the text below. In 40 seconds, you must read this text aloud as naturally and clearly as possible. You have 40 seconds to read aloud.A student exchange program complements formal education, while promoting tolerance, maturity and independence - all highly sought after qualities in today's competitive job market. Living in the host country, not as a tourist or guest but as a member of the community, is what makes the experience both challenging and rewarding. [填空题]_________________________________hear the sentence only once.Please listen to the record named 'Q7'.[填空题]_________________________________答案解析:Students who wish to apply for an extension should approach their tutors.8. You will hear a sentence. Please repeat the sentence exactly as you hear it. You will hear the sentence only once.Please listen to the record named 'Q8'. [填空题]_________________________________答案解析:The research looked at neighbourhood cooperative schemes such as community gardens.9. You will hear a sentence. Please repeat the sentence exactly as you hear it. You will hear the sentence only once.Please listen to the record named 'Q9'. [填空题]_________________________________答案解析:Visual aids can make presentations clearer and more interesting.10. You will hear a sentence. Please repeat the sentence exactly as you hear it. You will hear the sentence only once.Please listen to the record named 'Q10'. [填空题]_________________________________答案解析:Economy of scale is the increase in efficiency that occurs when more goods are produced.hear the sentence only once.Please listen to the record named 'Q11'. [填空题]_________________________________答案解析:The University is working towards being more environmentally sustainable.12. You will hear a sentence. Please repeat the sentence exactly as you hear it. You will hear the sentence only once.Please listen to the record named 'Q12'. [填空题]_________________________________答案解析:Unlike applied arts, fine arts do not serve a practical function.13. You will hear a sentence. Please repeat the sentence exactly as you hear it. You will hear the sentence only once.Please listen to the record named 'Q13'. [填空题]_________________________________答案解析:Modern poetry often tests the conventions of language and rhythm.14. You will hear a sentence. Please repeat the sentence exactly as you hear it. You will hear the sentence only once.Please listen to the record named 'Q14'. [填空题]_________________________________答案解析:The Law Library is closed on Sundays and public holidays.15. You will hear a sentence. Please repeat the sentence exactly as you hear it. You will hear the sentence only once.Please listen to the record named 'Q15'. [填空题]_________________________________答案解析:There are no places left in the morning tutorial.16. You will hear a sentence. Please repeat the sentence exactly as you hear it. You will hear the sentence only once.Please listen to the record named 'Q16'. [填空题]_________________________________答案解析:The conference is predicted to draw greater numbers than last year.17. Look at the graph below. In 25 seconds, please speak into the microphone and describe in detail what the graph is showing. You will have 40 seconds to give your response.[填空题] _________________________________18. Look at the graph below. In 25 seconds, please speak into the microphone and describe in detail what the graph is showing. You will have 40 seconds to give yourresponse.[填空题]_________________________________19. Look at the graph below. In 25 seconds, please speak into the microphone and describe in detail what the graph is showing. You will have 40 seconds to give yourresponse.[填空题]_________________________________20. Look at the graph below. In 25 seconds, please speak into the microphone and describe in detail what the graph is showing. You will have 40 seconds to give yourresponse.[填空题]_________________________________21. Look at the graph below. In 25 seconds, please speak into the microphone and describe in detail what the graph is showing. You will have 40 seconds to give yourresponse.[填空题]_________________________________22. Look at the graph below. In 25 seconds, please speak into the microphone and describe in detail what the graph is showing. You will have 40 seconds to give yourresponse.[填空题]_________________________________23. You will hear a lecture. After listening to the lecture, in 10 seconds, please speak into the microphone and retell what you have just heard from the lecture in your own words. You will have 40 seconds to give your response. (Please listen to the record named'Q23')[填空题]_________________________________24. You will hear a lecture. After listening to the lecture, in 10 seconds, please speak into the microphone and retell what you have just heard from the lecture in your own words. You will have 40 seconds to give your response. (Please listen to the record named 'Q24')[填空题]_________________________________25. You will hear a lecture. After listening to the lecture, in 10 seconds, please speak into the microphone and retell what you have just heard from the lecture in your own words.You will have 40 seconds to give your response. (Please listen to the record named 'Q25')[填空题]_________________________________26. You will hear a question. Please give a simple and short answer. Often just one or a few words is enough. (Please listen to the record named 'Q26') [填空题]_________________________________27. You will hear a question. Please give a simple and short answer. Often just one or a few words is enough. (Please listen to the record named 'Q27') [填空题]_________________________________28. You will hear a question. Please give a simple and short answer. Often just one or a few words is enough. (Please listen to the record named 'Q28') [填空题]_________________________________29. You will hear a question. Please give a simple and short answer. Often just one or a few words is enough. (Please listen to the record named 'Q29') [填空题]_________________________________30. You will hear a question. Please give a simple and short answer. Often just one or a few words is enough. (Please listen to the record named 'Q30') [填空题]_________________________________31. You will hear a question. Please give a simple and short answer. Often just one or a few words is enough. (Please listen to the record named 'Q31') [填空题]_________________________________32. You will hear a question. Please give a simple and short answer. Often just one or a few words is enough. (Please listen to the record named 'Q32') [填空题]_________________________________33. You will hear a question. Please give a simple and short answer. Often just one or a few words is enough. (Please listen to the record named 'Q33') [填空题]_________________________________34. You will hear a question. Please give a simple and short answer. Often just one or a few words is enough. (Please listen to the record named 'Q34') [填空题]_________________________________35. You will hear a question. Please give a simple and short answer. Often just one or a few words is enough. (Please listen to the record named 'Q35') [填空题]_________________________________36. Read the passage below and summarize it using one sentence. Type your response in the box at the bottom of the screen. You have 10 minutes to finish this task. Your response will be judged on the quality of your writing and on how well your response presents the key points in the passage.Most sea creatures. from whales and dolphins to fish . sharks, shrimps and possibly even anemones respond to sound, and many can produce it. They use it to hunt and to hide, find mates and food, form and guide shoals, navigate 'blind', send messages and transmit warnings, establish territories, warn off competitors, stun prey, deceive predators, and sense changes in water and conditions.Marine animals click bones and grind teeth; use drum-tight bladders and special sonic organs to chirp, grunt, and boom: belch gases; and vibrate special organs. Far from the 'silent deep', the oceans are a raucous babel.Into this age-long tumult, in the blink of an evolutionary eye, has entered a new thunder: the throb of mighty engines as 46,220 large vessels plough the world's shipping lanes. Scientists say that background noise in the ocean has increased rough ly by 15 decibels in the past 50 years. It may not sound like much in overall terms; but it is enough, according to many marine biologists, to mask the normal sounds of ocean life going about its business. At its most intense, some even say noise causes whales to become disoriented, dolphins to develop 'the bends'. fish to go deaf, flee their breeding grounds or fail to form shoals - enough to disrupt the basic biology of two thirds of the planet.'Undersea noise pollution is like the death of a thousand cuts', says Sylvia Earle, chief scientist of the US National Oceanic and Atmospheric Administration. 'Each sound in itself may not be a matter of critical concern, but taken all together. the noise from shipping. seismic surveys, and military activity is creating a totally different environment than existed even 50 years ago. That high level of noise is bound to have a hard, sweeping impact on life in the sea. [填空题]_________________________________37. Read the passage below and summarize it using one sentence. Type your response in the box at the bottom of the screen. You have 10 minutes to finish this task. Your response will be judged on the quality of your writing and on how well your response presents the key points in the passage.Humans have been cultivating chilies as food for 6,000 years, but we are still learning new things about the science behind their heat and how it reacts with our body. In the late 1900's, scientists identified the pain nerves that detect capsaicin: the chemical in chillies responsible for most of the burning sensation in our mouth. But it's only during the last few years that scientists have also learnt why chilies evolved to be spicy in the first place, and they have managed to cultivate new varieties that are up to 300 times hotter than the common Jalapeno.The hottest part of a chilli is not the seeds, as many people think, but the white flesh thathouses the seeds, known as the placenta. But why did chillies evolve to be hot in the first place? Most scientists believe capsaicin acts mainly as a deterrent against would-be mamma l predato rs such as rodents. But recent research suggests this may not be the whole story. US scientists working in Bolivia have studied how hot and mild chillies differ in their susceptibility to a certain harmful fungus. It turns out that the hotter the chilli, the better its defences against the fungus, leading the researchers to propose that heat may have evolved to help chillies deal with harmful microbes, as well as hungry mammals. [填空题]_________________________________38. You will have 20 minutes to plan, write and revise an essay about the topic below. Your response will be judged on how well you develop a position, organize your ideas, present supporting details, and control the elements of standard written English. You should write 200-300 words.'Students should be required to stay in school until the age of eighteen.' To what extent do you agree or disagree with this statement? Support your point of view with reasons and /or examples from your own experience. [填空题]_________________________________39. You will have 20 minutes to plan, write and revise an essay about the topic below. Your response will be judged on how well you develop a position, organize your ideas, present supporting details, and control the elements of standard written English. You should write 200-300 words.'Environmental problems are too great to be managed by individuals so real change can only be achieved at government level.' To what extent do you agree or disagree with this statement? Support your point of view with reasons and/or examples from your own experience. [填空题]_________________________________40. Read the text and answer the multiple-choice question by selecting the correct response. Only one response is correct.Submarine operators have been alerted to the dangers of sea snails in a recent study. An international research team says the hardy deep-sea animals latch on to the submarines used by scientists. potentially spreading disease in pristine ecosystems. The limpet is a sea snail that lives 2,000 metres underwater but can also survive in air when a submarine emerges from the water. If it goes unnoticed, the limpet can find itself in another habitat the next time the submarine is used. As 90 per cent of limpets are infected by parasites, this poses a threat to the ecosystem; but thoroughly cleaning the submarines will solve the problem.What problem does the article mention in relation to sea snailsr [单选题]Research into sea snails has been harming the animals themselves.Sea snails are being carried by submarines to places where they harm other species.(正确答案)Sea snails are spreading diseases to the research scientists on submarines.Dirty submarines are endangering the well-being of the sea snails that attach themselves.41. Read the text and answer the multiple-choice question by selecting the correct response. Only one response is correct.The Graphic design degree provides students with a nurturing environment for learning, developing aesthetic appreciation and design skills with an emphasis on media and marketing. Students have the chance to develop their personal style, while broadening their technical repertoire as designers. The academic staff are former working artists. theorists and designers who have been successful in achieving major awards,commissions and research grants. The facilities for the graphic design program include spacious design studios, colour and monochrome darkrooms and photography studios. Students will develop skills at a professional working standard in all computer-based programs that the design industry requires.What does the Graphic Design degree offer students? [单选题]experience working on new magazinesthe opportunity to apply for funds to help with their studyteachers who have practical experience in a creative field(正确答案)the use of state-of-the-art cameras42. Read the text and answer the question by selecting all the correct responses. More than one response is correct.When the Maori people first came to New Zealand. they brought the mulberry plant from which they made bark cloth. However, the mulberry did not flourish in the new climate so they found a substitute in the native flax. They used this for baskets, mats, and fishing nets and to make intricate fibre ceremonial cloaks. Maori identified almost 60 types of flax, and propagated flax nurseries and plantations to supply the integral material. They chopped the leaves near the base of the flax plant using a sharp mussel shell or shaped rocks. The flesh of the leaf was stripped off right down to the fibre which went through several processes of washing, bleaching, softening. dyeing and drying. Flax ropes and cords had such great strength that they were used to bind together sections of hollowed-out logs to create huge ocean-going canoes, and to provide rigging, sails and lengthy anchor warps for them. It was also used for roofs for housing. The ends of the flax leaves were fanned out to make torches to provide light at night.For which of t he following purposes does the passage say the Maoriused flax?special clothing(正确答案)cleaning clothequipment for boats(正确答案)walls for their hutscooking tools43. Read the text and answer the question by selecting all the correct responses. More than one response is correct.The Neue National Gallery in Berlin was designed by Mies van der Rohe. Built in 1968, it is a jump from the traditional museum concept of a dosed building with exhibition rooms. Instead it is an open-plan, flexible space. With only two steel columns on each side, the corners are 'free', giving the building a lightweight look. The gallery was the first building completed as part of a duster of buildings dedicated to culture and the fine arts. It is often said that the building is a work of art in itself. The unusual natural illumination in the building, coming from around and below the viewer rather than above, has the effect of shocking the viewer out of their usual way of seeing and encouraging visitors to bring a fresh eye to the art. The upper level is mainly used for special exhibits, for example, large-scale sculptures or paintings. The vast lower level has space for themed shows, and contains shops, a cafe, and the museum's permanent collection, which ranges from early modern art to art of the 1960s. The podium roof plaza is an open air gallery for public sculpture. On request. guests may enter the garden to see figurative and abstract sculptures on display there. Special exhibits are attended by specially trained, very personable staff, who field questions, explain the exhibits, and enthuse about their favourite works.What does the passage say can be found at the Neue National Gallery?overhead lighting to showcase artworksubstantial pillars in the corners of the buildingartwork on top of the building(正确答案)several separate gallery rooms on each floorhelpful guides to give information about the art(正确答案)44. The text boxes in the left panel have been placed in a random order. Please reorder the numbers in a correct way.1.It is important to register for sessions with the industry professionals as numbers are limited.2.The conference is part of the career counselling centre's campaign, which has been designed to assist final year students transitioning out of university and getting their careers off to a good start.3.Students will be able to speak with industry professionals and graduates who had the benefit of this assistance last year.4.The university will host its second annual Arts and Commerce Career Readiness Conference on campus next month. [填空题]_________________________________(答案:4231)45. The text boxes in the left panel have been placed in a random order. Please reorder the numbers in a correct way.1.Urban planners must consider these threats and work to allay them.2.Historically, in Europe and many other parts of the world, settlements were built on higher ground for the purposes of defence and to be close to fresh water sources.3.If the dangers are only in specific areas then they can make the affected regions into parkland or a green belt, often providing the added advantage of open space.4.Cities have often spread down from these locations onto coastal plains, putting them at risk of floods and storm surges. [填空题]_________________________________(答案:2413)46. In the text below some words are missing. Select the words from the box below and put them in the appropriate place in the text.The practice of giving graduation gifts seems to be alive and well, despite____________ economic times. A recent study in the US has shown that while families may not have as much to spend, they are being more____________ in the gifts they bestow. Lavish celebrations and large lump____________ seem to have gone by the wayside in favour of smaller, more thoughtful gifts.generous, hard, creative, money, sums, favourable [填空题]空1答案:hard空2答案:creative空3答案:sums47. In the text below some words are missing. Select the words from the box below and put them in the appropriate place in the text.The majority of early pictures in the National Portrait Gallery's_________ are by unknown artists, with fundamental questions, such as when, where and why they were painted still remaining to be unanswered. Through the application of scientific methods, a new project has the _________ to unlock evidence that will allow researchers to determine answers to these questions. They will use a_________ of cutting-edgescientific techniques, such as X-ray and infra-red reflectography. in order to reveal new _________ about individual paintings.information, potential, combination, prospect, connection, care, work [填空题]空1答案:care空2答案:potential空3答案:combination空4答案:information48. In the text below some words are missing. Select the words from the box below and put them in the appropriate place in the text.Gunpowder, also referred to as 'black powder', was the only_________ chemical explosive until the mid-nineteenth century. It_________ I potassium nitrate, or 'saltpeter', which is an oxidiser, and a combination of charcoal and sulphur serves as fuel. Thereis_________ consensus that gunpowder was initially invented in China as early as the ninth century. This _________ to its use in fireworks and in gunpowder weapons.includes, contains, caused, academic, known, unique, led [填空题]空1答案:known空2答案:contains空3答案:academic空4答案:led49. In the text below some words are missing. Select the words from the box below and put them in the appropriate place in the text.Marion Dorset (1872-1935) was an influential American biochemist. He began working as a_________ for the U.S. Department of Agriculture in 1894, and worked his way up to become chief of the biochemical_________ in 1904. He made important discoveries in bacterial toxins and animal diseases, and he conducted pioneering work in the_________ of meat products. He co-discovered the virus that causes hog cholera and subsequently developed a_________ to prevent it.researcher, leader, serum, fluid, inspection, consumption, division [填空题]空1答案:researcher空2答案:division空3答案:inspection空4答案:serum50. There are some words missing in the following text.There are four words for each blank. Please select the correct word among them and write down on the answer area.Victoria University of Wellington has conferred an honorary degree on a distinguished astrophysicist in a recent graduation ceremony. Professor Warrick Couch (was receiving/had received/is received/received)the honorary degree of Doctor of Science forhis remarkable contribution to our knowledge of galaxies and dark energy. Professor Couch is a distinguished astrophysicist who has (played/found/done/led) a crucial role in the discovery that the Universe is expanding at an accelerating rate, a finding which led to the lead scientists being awarded a Nobel Prize in Physics in 2011. which he attended in recognition of his contribution. In his research, Professor Couch uses large ground-based and spaced-based telescopes to observe galaxy clusters,(those/which/they/who)are the largest Structures in the Universe. He is also involved in a number of national and international committees overseeing the management of these telescopes.(In additionto/As a result of/Regarding/In stead of)his own research activities. Professor Couch has worked to support young researchers and provide public comment on astronomy internationally. [填空题]_________________________________答案解析:received, played, which, In addition to51. There are some words missing in the following text.There are four words for each blank. Please select the correct word among them and write down on the answer area.Keith Haring began as an underground artist. literally. His first famous projects were pieces of stylized graffiti (drawers/drawn/drew/draws) in New York subway stations. Haring travelled from station to station. Drawing with chalk and chatting with commuters about his work. These doodles helped him develop his classic style and he grewso(perceptive/proactive/pedantic/prolific), doing up to 40 drawings a day, that it was not long before fame and a measure of fortune followed. Soon, galleries and collectors from the art establishment wanted to buy full-sized pieces by Haring. The paintings skyrocketed in price but this did not sit well with Haring's philosophy. He believed that art, or (by contrast/at least/actually/in part) his art, was for everyone. Soon, Haring opened a store which he called the Pop Shop. which he hoped would attract a broad range of people. While somewhat controversial among street artists, some of(whose/those/whom/them) accused Haring of 'selling out', the Pop Shop changed the way people thought about the relationship between art and business. [填空题]_________________________________答案解析:drawn, prolific, at least, whom52. There are some words missing in the following text.There are four words for each blank. Please select the correct word among them and write down on the answer area.Conservationists have long debated whether the koala should go on the Australian national threatened species list. (Because/However/Despite/While) the koala is clearly in trouble in some parts of the country - in Queensland, for example, high numbers are afflicted by disease - in other parts such as Victoria and South Australia the problem is not that koala populations (had been falling/were falling/are falling/had fallen), but that they have grown to the point where they are almost too numerous. For a species to be classed as vulnerable, its population (must have decreased/will be decreasing/was decreased/has decreased) by more than 30 percent over the last three generations or 10 years. The problem is that when such a stipulation is applied to koalas, the Victorian boom offsets the Queensland bust, and the species stays off the list. This has repercussions because northern koalas are different to southern ones. They are smaller, for example, and they contain a genetic variation not represented in the South.(According to this/For this reason/For instance/In contrast) . a split listing has been devised koalas from New South Wales, the ACT and Queensland are now officially 'Vulnerable'; those from Victoria and South Australia are not considered threatened. [填空题]_________________________________答案解析:While, are falling, must have decreased, For this reason53. There are some words missing in the following text.There are four words for each blank. Please select the correct word among them and write down on the answer area.The Department of Fine Arts is a vibrant department comprising active art professionals housed in a modern, well-equipped facility. The faculty enjoys。

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preliminary design, in a way which is not easy with 3D CFD. Most throughflow codes use the streamline curvature method and derive from those of Smith (1966), Novak (1967) and Denton (1978), based on the general S1/S2 theory of Wu (1952). Other methods of solving the equations have been looked at (Simon and Leonard (2005), Liu et al. (2000), Spurr (1980), Marsh (1968)), but none have displaced streamline curvature in practice, as in throughflow methods the “accuracy is determined by the accuracy of the correlations rather than the numerics” (Denton (1978)). This paper describes a streamline curvature meridional throughflow method for radial turbomachinery known as Vista TF. It is a completely new coding of streamline curvature throughflow theory based on the method of Denton (1978) and its adaptation to radial compressors by Casey and Roth (1984), but with many new features. The streamline curvature approach is used to solve the throughflow equations, rather than a more modern numerical technique, as the theory is easy to understand, being based on the spanwise equilibrium of a circumferentially averaged flow in an annulus. It automatically leads to clearly defined meridional streamlines which neatly allow a blade-to-blade and throughflow view of the turbomachine for design purposes. In addition it can be used in a “ductflow” mode, with only leading and trailing edges of the blade rows defined, which is often an advantage in the preliminary design phase of multistage axial machines. There are two main disadvantages of the streamline curvature technique. Firstly, it allows no reverse flow in the meridional plane. Nowadays, however, issues of flow separation are best resolved with a fully viscous 3D CFD solution rather than with a 2D throughflow method. It is more important that a throughflow code identifies the problem without breaking down, so that appropriate design decisions can be made to try to avoid the reverse flow. Secondly, the method suffers from a sharp increase in calculating time on grids with finely spaced quasi-orthogonals owing to the stability requirements of the streamline curvature calculation (Wilkinson (1970)). However, the calculating time of a throughflow code on a modern laptop for a radial stage is only a few seconds, so this is also relatively unimportant. The code described here is primarily designed for single stage radial turbomachinery applications, but there is no limitation in the code which forbids its use for any multistage axial or radial turbomachinery application. Key features of the code are listed below: • Highly curved annulus walls are allowed providing a simple definition of axial and radial wall geometries and any combination of these. • Any combination of blade row calculating stations, together with duct flow regions, can be used in the domain allowing all types of turbomachinery to be calculated. • Curved quasi-orthogonal lines allow blades with sweep and curved leading and trailing edges to be modeled. • Internal blade row calculating stations are used, not just leading and trailing edges, and blade force terms are included to take into account the lean of the blades, whereby the body force is assumed to act normal to the blade camber surface.
Proceedings of ASME Turbo Expo 2008: Power for Land, Sea and Air GT2008 June 9-13, 2008, Berlin, Germany
GT2008-50187源自A NEW STREAMLINE CURVATURE THROUGHFLOW METHOD FOR RADIAL TURBOMACHINERY
Michael Casey ITSM - Institute of Thermal Turbomachinery and Machinery Laboratory, Universität Stuttgart, Pfaffenwaldring 6, D-70569 Stuttgart, Germany email: michael.casey@itsm.uni-stuttgart.de Chris Robinson PCA Engineers Limited, Homer House, Sibthorp Street, Lincoln LN5 7SB, UK email: chris.robinson@ q = distance along calculating plane T = temperature r = radius rc = radius of curvature R = gas constant s = specific entropy S = entropy u = blade speed w = relative flow velocity z = axial coordinate Z = number of blades Greek Symbols β = relative flow angle blade lean angle γ = γin = blending function at inlet γout = blending function at outlet ε = diffusion coefficient angle between streamline and plane ψ = θ = circumferential coordinate ρ = density Subscripts m = meridional component t = total conditions u = circumferential component INTRODUCTION In most turbomachinery design systems a meridional throughflow calculation is the backbone of the design process. It is fast, reliable, easy to understand, deals easily with multiple blade rows and includes empirical loss, deviation and blockage correlations. Performance and experience from earlier machines can then be taken into account in the
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