物体状态

To a certain extent. Fang Zhenning is a fetishist. A lot of what he shoots is modern architecture-humanity's greatest achievement since the industrial age. it is no longer simply buildings. but symbols of the modern age. but his lens peels from actual objects all their normal characteristics-weight. bulk. smell. time. continuity and meaning-and through enlargement. intercepting details creates a kind of concrete abstraction. allowing the actual object to exist in another state.

在某种程度上，方振宁是一个拜物教徒，他拍摄的多是现代建筑物——工业时代以来人类最庞大的创造，它们已不是单纯的建筑，而是现代性的象征物，但是他的镜头把实际物体通常的特性——重量、体积、气味、时间、连续性以及意义——剥下，以放大、截取细部的方式造成一种具像的抽象性，让实际物体以另一种状态存在。

Objects in the thermal motion of molecules in a measure of average energy, it belongs to the molecular thermal motion of objects within the equilibrium molecular kinetic energy of the average statistics.

物体内分子的热运动平均能量的度量，它属于物体内的分子热运动平衡状态下分子动能的平均统计值。

In another word, the status does not exist that a painter should learn from nature "purely" without any "prejudice" and paint realistically by facing an object to paint out what he or she has perceived. To obtain such capability, painting learners or students shall use their eyes (teachers ask students in the painting class "where are your eyes and your perceptions") to observe objects and things at the beginning of study and then paint the models faithfully by means of "facade-subdivision"(or "preferring to square not round" as described by Xu Beihong, or decomposing the object into many petty facades as described in the line drawing textbook by P.P. Chistjakov so as to turn around the object bit by bit).

也就是说，不存在这样一种状态，画家为了画出自己的感觉，他们应该"纯洁"地不带"偏见"地去向自然学习，去面对物体直截了当地写生，而为了获得这种能力，在学习绘画的初始阶段，就必须训练学生们用自己的眼睛(在绘画课室里，老师总是质问学生，你的眼睛在哪里，你的感觉在哪里)去观察对象，然后用一种"分面"的方法(也就是徐悲鸿所说的"宁方勿圆"，或者按照据说是契斯恰科夫的素描教程的要求把对象分解成许多小面，以便使物体能够一点一点地转过去的方法)把眼前的模特如实地画下来。

The distances estimation algorithm between object and base-stations is studied in detail, which provides pseudo-distance observation data for location object\'s status parament estimation.

深入研究了定位物体与定位基站的距离估计算法，为定位物体的位置、速度和姿态角等状态参数估计提供了伪距观测数据。

In so far as linear motion is concerned, a body is in equilibrium if the vector sum of the forces acting upon it is zero.

就线性运动而论，如果作用于一个物体上的诸力的矢量之和是零，那么这个物体就处于平衡状态。

An object at rest tends to stay at rest and an object in motion tends to stay in motion with the same speed and in the same direction unless acted upon by an unbalanced force .

一节运动的物体趋向于仍保持原来的速度的大小和方向运动，静止的物体将永远静止，除非有不平衡的外力迫使它改变这种状态为止。

If a body is acted upon by a number of forces and stillremains motionless, the body is said to be inequilibrium.

如果一个物体受到几个力的作用而仍然保持静止，那么该物体处于平衡状态。

A wire tying tool having a set of movable talons (400, 401) for channeling a loop of hard wire fed from a spool (600) around an object to be tied with a wire knot at high speed; a wire drive (364) with a pullback feature to retract the loop under tension to tighten the loop around the object; a clutch-controlled retractable reel to hold the tension on the wire on the reel; a spinner/cutter that extrudes a knot by turning, kinking and cutting the wire, and then rotating to twist the wire into a knot while drawing the spinner away from the work surface.

一金属丝捆扎工具有一组带有引导从一卷线筒（600）高速传送来的围绕将被一金属丝结捆扎的物体的、硬金属丝环的通道的可运动的爪钳（400，401）；一具有回拉功能的以便在拉力状态下回拉此环以拉紧围绕物体的环的金属丝传动（364）；一离合器―控制的可回拉的、保持金属丝张力的卷线轴；当旋转器被拉离工作表面时通过转动、扭结和切割金属丝以及然后旋转、以便扭转金属丝形成一结而挤出一结的一旋转器／切割器。

Sometimes, you have to make a distinction between the set of intersections the objet depends on and

有时候，你必须做出区别一套交叉口的物体，取决于和这套交叉口状态的一个物体，取决于对。

This force consists in the action only; and remains no longer in the body, when the action is over. For a body maintains every new state it acquires, by its vis inertiae only.

这个力只存在于作用中，一旦作用过去了，物体中便再没有力了，因为物体可以保持它所得到的任何一种新的状态，这仅仅依靠它的惯性就可以做到。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。