第三

Chapter 1 briefs the relation between invariance and computer vision and summarizes the research and application of invariance in computer vision. Chapter 2 first derives the transformations of three camera models, then makes the correpondences between the models and three typical geometrical transformation groups by analysing the transformations respectively. The correspondences supply the theoretical basis for applying geometrical invariants to resolve the problems of computer vision. In Chapter 3, we describe the geometrical invariant theory and prove some geometrical invariants of coplanar points, lines or conics by algebraic method. In order to use the invariants of conic pairs to describe general 2D shapes, we discuss the perspectively invariant representation of planar curves using conies in detail. A system consisted of two TMS320C25 and based on moment invariants is introduced in Chapter 5. The system can recognize more than 30 different shapes of object model or more than 10 plane models with similar shape in real time.

第一章简述了不变性与计算机视觉的关系，以及计算机视觉中的不变性研究和应用概况；第二章推导了计算机视觉中常用三种投影模型的变换关系，通过对这三种变换关系的分析，分别建立了这三种投影模型和几何学中的三种变换群之间的一一对应关系，为几何不变性在计算机视觉中的应用提供了理论基础；在第三章中，我们介绍了几何不变性的理论，并且用代数方法证明了共面点、直线、二次曲线的几何不变量和射影不变量；为了把二次曲线的不变量用于一般二维形状描述，在第四章中我们详细地讨论了用二次曲线实现一般平面曲线的透视不变性表示的方法；第五章介绍了用两片TMS320C25构成的、基于不变矩形特征的运动目标实时识别系统。

And experts paid more attentions to integer perception while listening to music.3. It also showed the position effect, that was irregular chords appeared at the third or fifth position, and the swings and the delitescence were quite different. It uncovered the different neural modes at different music perception phases.4. The two components had no significant differences with their swings at the three attention levels. It meant that these two ERP components could be acquired under non-attention condition, and music processing was automatic.

更多伏期更早，表明在时间维度和程度上，专家的整合程度要优于一般被试，专家更加注重对音乐的整体知觉。3通过违例和弦出现位置的不同，如违例和弦分别出现在第三位置和第五位置上的对比研究，发现第五位置上产生的ERAN和N5比第三位置上产生的振幅更大，表明这两种成分受违例位置的影响，揭示了音乐知觉不同阶段认知神经模型的差异。4这两种成分在三种注意水平下没有显著性差异，表明这两种ERP成分在非注意条件下就能够产生，人类的音乐加工是自动的。

If at any time, any question, disputes or differences whatso - ever shall arise between the Purchaser and the Contractor, upon or in relation to, or in connection with this Contraot, either partymay forthwith give to the other, notice in writing of the existence of such question, dispute or difference and same shall be referred to the addication of, three arbitrators, one to be nominated by the Purchaser, the other by the Contractor and the third by the President of the International Chamber of Commerce, in the case of foreign Contractors and Secretary - General of The Engineering Institute of Parcheesi, in the case of local contractors.

第三十七条争议的解决——仲裁 37Settlement of Disputes Arbitration 发包方和承包方之间在任何时候发生与合同有关的一切问题，争议或异议，任何一方应当立即以书面形式告知另一方这种问题，争议或异议的存在，同时应提交仲裁。三名仲裁员，一名由发包方指定，另一名由承包方指定，如果承包方为外国人，则第三名由国际商会主席指定；如果承包方为本地的，则第三名仲裁员由工程协会的主席指定。

The introduction deals with these pieces composed before Beethoven so as to get the conclusion about the historical background of how specific color of C minor came into being. Chapter One studies three C minor piano pieces composed by Beethoven (Sonata No.5, Sonata No.8, Piano Concerto No.3), analyzes these first movements in detail from the perspective of the binary conflict, dotted rhythm, diminished seventh chord and the use of repeat notes. Chapter Two focuses on the similar backgrounds concerning compositions, general idea, theme design, heroic characters, etc. All of these characters could explain that how Beethoven understood and used the to...更多nality of C minor.

随后选择贝多芬1800年之前创作的三部C小调钢琴作品(《第五钢琴奏鸣曲》、《第八钢琴奏鸣曲》、《第三钢琴协奏曲》)进行研究，并着重第一乐章，从二元冲突、附点节奏、减七和弦、重复音的运用等方面进行具体分析，归纳三部作品在创作背景、总体构思、主题设计、英雄性格等方面的相似之处，从而解释贝多芬对C小调调性的理解与运用以及这三部作品对贝多芬英雄主义风格形成的影响。

Part one studies the sequence techniques, including the original sequence and its magic cube table, the sequence distribution in each movement and the sequence application techniques in different parts; Part two is a study of chord structure, consisting of fourth-fifth chords that are comprised of tritone, polychords, tall chords, note-cluster chords, as well as whole-tone scale chords; Part three is to analyze the techniques of polyphony, involving the counterpoint of melody and that of rhythm; Part four examines techniques of orchestration, such as those of conventional orchestration and of unconventional orchestration, and the figure of changing track of orchestration acoustics; Part five is a research of musical form structure, including illustrations of musical form structures in all movements, in addition to the effects of timbre, performing methods, dynamics, and density on musical form structural force.

本文将从五个方面来分析研究王西麟《第三交响曲》：第一，序列技术研究，其中包括原始序列及其魔方表、序列在各乐章的分布、多声织体中的序列应用手法；第二，和弦结构研究，其中包括三整音叠置的四五度和弦、复合和弦、高叠和弦、音块式和弦、全音音阶纵合化和弦；第三，复调技法研究，其中包括旋律对位、节奏对位；第四，配器手法研究，其中包括常规配器手法、非常规配器手法、配器音响效果变化轨迹图；第五，曲式结构研究，其中包括各乐章曲式结构图示，以及音色、演奏法、力度、织体密度对曲式结构力的影响。

Full Band Festival, Macao Solo at Sugar Jar, Beijing Germany Night, Beijing Tie Guan Yin at UMWEG BER CHINA Festival, Berlin Qianhai Kwanyin, Beijing Waterland Kwanyin, Beijing More Less More project, Beijing Solo at Mini Midi 2007, Beijing Bu Yi Yang post Shanghai, Shanghai 2006 Bu Yi Yang Shangbu Nanshan,Shenzhen 12th Kolkata Film Festival, Kolkata Borderline International Film Art Exhibition, Beijing The Third China Independent Film Festival, Nanjing Moscow Biennale, Moscow The Voice Of The Other Shore, Beijing Midi Music Festival, Beijing Dashanzi International Art Festival, Beijing Art Beijing, Beijing Waterland Guanyin Series, Beijing Qianhai Guanyin Series, Beijing 2005 Holland Chinese Festival, Amsterdam Most Electronics, Xiamen Waterland Guanyin Series, Beijing Midi Music Festival, Beijing Dashanzi International Art Festival, Beijing Don't Break My Core, Shanghai 2004 Nuit Blanche Festival (With fm3 and Yan Jun) Paris 1000 Revolutions Per Second, Brussels Shanghai Biennale, Shanghai 2pi Music Festival, Hangzhou Dashanzi International Art Festival, Beijing OUT THE WINDOW (China, Japan, and South Korea multimedia art unites exhibition) Tokyo, Seoul, Beijing Discography: Support the umbrella to stand in dust that float float CD 2006 Kwanyin Records The Microwave DVD 2006 Kwanyin Records Tie Guanyin Duo-viva la vaches, wuquan + yan jun CD 2006 Kwanyin Records Tie Guanyin Duo-Live at 798Cubic Art Center, wuquan + yan jun CD 2006 Kwanyin Records View DVD 2005 Kwanyin Records http://www.myspace.com/wuquan http://www.neocha.com/wuquan ———————————————————————————— Xiao He Third son of Tian Qiaoyun and He Pingsuo.

主要艺术活动： 2007 参与不一定乐队乐巡演上海、芜湖、杭州、义乌、珠海、深圳、广州"不一定·愚公移山"北京"不一定·798"北京"武王文窦·澳门国际马拉松国际摇滚音乐节"澳门"白糖罐·声场"北京"德国之夜"北京"迂回中国"柏林"前海观音"北京"水陆观音"北京"马恩列斯毛"系列演出北京"第八届迷笛音乐节"北京"不一样·后上海"上海 2006 "不一样·上步南山"深圳"第12届加尔格达电影节"加尔格达"边界线国际影像艺术展"北京"第三届中国独立影像年展"北京"莫斯科双年展"莫斯科"彼岸之声"北京"第七届迷笛音乐节"北京"第三届大山子国际艺术节" 798艺术工厂北京"艺术北京2006"北京"水陆观音"北京"前海观音"北京 2005 策划/组织电影短片集《色！》"荷兰中国文化节，实验中国"阿姆斯特丹"最电子"厦门"水陆观音"北京"第六届迷笛音乐节"北京"第二届大山子国际艺术节" 798艺术工厂北京"don't break my core"上海"湿森林实验电子现场"长沙"workshop"大理 2003-2004 "Nuit Blanche"艺术节（与fm3、颜峻）巴黎"1000 revolutions per second"布鲁塞尔"第五届上海双年展"上海 2004 "第二层皮音乐节"杭州"第一届大山子国际艺术节"798艺术工厂北京《十夜谈》（与颜峻、fm3、王凡）北京"OUT THE WINDOW"（中、日、韩多媒体艺术联展）东京、汉城、北京 2003 《三国·四记》上海《水煮黄昏》（与fm3、颜峻）北京《不可能》（与颜峻、fm3）北京 2002 "丽江雪山音乐节"（与窦唯、fm3）丽江"点亮长城音乐节"北京发表作品：《打着伞在浮沉中站立》 CD 2006 观音唱片《微波》DVD 2006 观音唱片《铁观音二重奏-杀不死的牛》CD 2006 观音唱片《铁观音二重奏-立方艺术中心现场》CD 2006 观音唱片《观》DVD 2005 观音唱片

The first generation of barracks were underground bunkers built with cements and reinforced concretes in the early 1970s; the second generation of barracks became blockhouses with sleeping quarters built on the ground, which are used as warehouses now; the third and fourth generations of barracks were modernized barracks, but they too have been turned into memorial halls and rooms of honor; the fifth generation is an innovatively designed three-storied building, in which spring beds has replaced the Chinese heatable brick beds and large boiler has replaced old-typed stove.

走进院内，一栋错落有致的三层小阁楼展现眼前，这已是哨所的第五代营房。五代营房忠实地记录着30多年的风雨历史。第一代营房是上个世纪70年代初用水泥钢筋浇铸的地下工事；第二代营房是地面上修筑的炮楼带宿舍的住房，现在已做了仓库；第三代、第四代营房是现代制式营房，但也变成了纪念馆、荣誉室；第五代营房是设计新颖的三层楼房，室内的钢丝床代替了小火炕，大锅炉代替了土炉子，暖气烧得热乎乎。

The main organic acid was citric acid, followed by malic acid. Citric acid and tartaric acid levels increased during storage. Malic acid and quinic acid increased from stage one to stage two. Shikimic acid level increased from stage one to stage three, then decreased slightly. Acetic acid changed unremarkably. Succinic acid changed not significantly from stage one to stage two, then increased and it was the highest in the stage three. The level in stage four and stage five was lower than the level in stage three.

五九香梨果实中的主要有机酸是苹果酸和柠檬酸，整个贮藏期间，柠檬酸和酒石酸含量处于上升趋势，苹果酸和奎宁酸含量在第一、二月贮藏期间增加，而后开始下降；莽草酸含量在贮藏期第一到第三阶段上升，而后略下降；琥珀酸含量在第一到第二阶段变化不明显，接着有上升的趋势，在第三阶段含量达到最高，第四和第五阶段略低于第三阶段；乙酸含量变化不明显。

In this part,chpater 2 is about how to overcome the problem of uncomplete information.

在这部分中，第二章研究信息不足的制度克服；第三章研究信息不对称的制度克服；第四章研究信息错误的制度克服；第五章主要研究制度如何降低信息成本，该内容有相当部分散见于第二、三、四章之中，之所以还要对其单列一章作专门的论述，是因为信息成本的降低是信息失灵问题是否得到克服的最为重要的指标，信息成本的充分降低表明决策主体的信息充分、准确且对称分布性，这有助于减少决策主体的支出，增加其决策利益，因此需要对信息成本降低的障碍及路径等问题展开研究；第六章研究公权信息的公开问题，该章主要对公权信息的强制性披露问题进行研究，它本质上是一种克服信息不对称的制度，所以把它列入第三章第一节第一部分有关强制性信息披露制度之中也并无不可，但由于公权信息的公开涉及到公权层面，与有关对私权主体的强制性信息披露制度相比具有较多的特殊性，所以，本文对其专列一章予以阐述。

The average percent value of G C (49.3%) was less than that of A T (50.7%), there was a bias of the content of G, T in the third codon; The number of transition G-A and T-C were 22, 15 respectively, which were higher than that of transition A-G and C-T, the number of tranversion C-A, T-G is 2 respectively, and other tranversion patterns didnt occur; the probability of transition was higher than that of tranversion , Ts/Tv = 9.5-19, there was the highest number of transition in the third codon. The gamma parameter a of the lst,nd and 3rd codon positions were 0.00572,0.01237 and 1.05239 respectively, they showed that there was adifferent substitution rate at different codon position. Frequences of synonymous codon usage were relatively biased. The average rates of synonymous and nonsynonymous substitution were 0.0787, 0.0011 respectively, there was a significant difference between dS and dN (Z = 4.713, p.01), and the low ratio( CD = 0.0284 .3) of dN/dS ratio impled that there were selective constraints against the nonsynonymous sites in cyt-b gene, The distribution of nonsynonymous codon substitution pattern related to Grantharm distance indicated that the purified selection at 2nd codon positions was more intensive than that at 1st codon positions. The phylogenetic trees supported the view of the double origin of Chinese goose, which means that domestic Chinese goose was derived from Anser cygnoides and domestic European goose, and Yili was derived from Anser anser.

碱基含量分析可知，序列的G C含量(49.3％)＜A T含量(50.7％)，密码子第三位点的G、T含量都有较强的偏倚性；序列间G→A和T→C的转换数(22次和15次)高于A→G和C→T的转换数(10次和9次)，C→A、T→G颠换数均为2次，其余颠换模式均未发生；转换数明显高于颠换数，Ts／Tv=9.5～19，密码子第三位点的转换数最高，呈现了相当强烈的转换偏倚性；密码子第一、二和三位点的gamma分布参数α值分别为0.00572、0.01237和1.05239，表明密码子第一位点的替换速率变异最大，第二位点次之，第三位点的替换速率变异相对较小；编码同一氨基酸的同义密码子并非随机使用，表现出一定程度的使用偏倚性；同义替换速率和非同义替换速率分别为0.0787和0.0011，dS与dN值间的差异极显著(Z=4.713，p＜0.01)，而ω=0.0284，明显小于0.3，表明雁属鹅细胞色素b基因序列经历了中度净化选择作用；单步非同义替换(Sing-step nonsymonymous codon substitution，SSNCS)分布模式与Grantharm距离之间的关系说明密码子的三个位点所受的净化选择强度不同；构建的最大简约树与邻接树拓扑结构一致，支持中国家鹅的双起源学说，即除伊犁鹅外的其它中国鹅品种起源于鸿雁，伊犁鹅和欧洲的郎德鹅、莱茵鹅起源于灰雁。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失