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This paper develops a high-frequency welding power source with double-ended flyback topology.based on SG3525 a new type of control program is designed which with controlled pulse energy output characteristics, pulse width and frequency can be controlled, to control output energy.

本文给出一种基于双端反激式主电路拓扑和SG3525 PWM控制芯片，研制了一台高频脉冲能量可控式焊接电源，该电源通过对输出电流的脉宽和频率单独控制，从而控制输出能量。

The origin of travelling wave and its propagation characteristics of modal components in time-domain and frequency domain are analyzed. The characteristics of configuration of railway Automatic Blocking/Power Continuous Lines and principle of various methods of travelling wave fault location are studied. Using transient surges extracted by transform voltage on the lines, a new method of double-ended principle of fault location is proposed.

本文分析了故障暂态行波的产生机理和模分量在时域、频域的传播特性，研究了铁路自闭/贯通线路的结构特点以及目前各种故障测距原理，提出了利用线路侧电压互感器提取暂态行波双端故障测距的新方法，该方法能够精确地测量各种类型的故障距离。

The double-ended, single-pronged tension wrench is used with the diamond pick.

双倍名额，单一齐用扳手张力与钻石好转。

Later on, it was upgraded to be a double-ended travelling wave based fault location system. But it was still very difficult to give an accurate and reliable fault location.

后来，国外公司又对其系统进行换代改造，改用双端法行波测距，实际运行效果仍然达不到准确、可靠地测量线路故障距离的目的。

The invention states that the garment fabric is knitted on a machine with two needle-beds, using double-ended latch needles transferable between them.

本发明申明：针织服装面料是在一台有两个针床的机器上进行编织，并在两者之间使用双端闭锁针转换。

Lend me a double-ended spanner please .

借给我双头扳手。

After the discussion ended, Ms. Lu Jie visited IDMI Corporation(Indian famous spinning and weaving company, Indian trade promotion member)delegation group in China (IDMI representative office has been located in Made-in-China Drawnet), to understood the Indian market demand situation on the Chinese product from delegate Mr.

会谈结束后，陆洁女士拜会了IDMI公司（印度著名纺织公司、印度贸易促进会成员）驻中国代表（IDMI公司驻中国代表办公室设在中国制造搜索网），向代表Biyani先生了解了印度市场对中国产品的需求情况。

But his life as a druggie ended when he started to get famous.

在他成名之后，他便结束了毒品贩子的生活。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xu's works, spur his works to enter audience's habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artist's conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesn't stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xus works, spur his works to enter audiences habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artists conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesnt stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。