视觉的

On the basis of theories of high-level visual processing subsystems and by following Sternberg's element-adding study pattern, serial studies were made to investigate the plasticity of visual cognitive ability in space. The results show that different degrees of plasticity and stability do exist in the cognition processing of visual space. Moreover, plasticity and flexibility in judgments of appearance swirl and quantitative spatial relationship and in command of visual characteristics are found greater in these studies than those obtained by means of appearance scanning, movement inference and judgment of categorical space relation.

视觉空间能力认知可塑性系列研究以高水平视觉加工子系统理论为基础，以斯滕伯格的加因素法为研究范式，通过对视觉空间任务的练习效应与年龄效应的检验表明，视觉空间认知加工中存在着的不同程度的可塑性与稳定性，结果显示出表象旋转、数量空间关系判断和视觉特征提取任务明显要比表象扫描、运动推断以及类别空间关系判断表现出较强的可塑性和易变性特点。

This essay used semeiology and metaphor theory as well as real examples, to discuss the problem of how the meaning raised from the visual language in the information design, which including two ...

本文应用符号学与隐喻的理论，借助实例从视觉语言的结构关系与视觉语言自身的谱系关系两个角度来分析信息设计中视觉语言的意义产生问题，并从视觉语言的诠释学层面对视觉语言的接受问题进行了研究。

This measurement which is visual spatiality result in toform visual words and visual model of physical theory.

这种测量的视觉空间化，导致了视觉空间客观化并形成视觉语言以及物理理论的视觉模型。

From this genealogical narrative, it is clear that the object of visual cultural studies is riot visual product but visuality that is hidden in all cultural texts, and the deconstruction and critique of the visual regime that forms this visuality is the fundamental task of this study.

通过这一描述和阐释，可以清楚地看到，视觉文化研究的对象并非视觉产品本身，而是隐藏在一切文化文本中的"视觉性"，而对构成视觉性的"视觉政体"的解构和批判将是这一研究的基本任务。

The results indicate the effect of light level, visual angle and eccentricity on detection rate and reaction time at mesopic region; shows series of spectral luminous efficacy drawn out from the experimental results since monochromatic stimulus was used; proves that the results from performance-based method are in essence compatible with those from bright-matching method, since both of them are in accordance

本论文实验和计算结果确定了背景亮度、视场角和偏心度对人眼探测率和反应时间的影响程度；根据视觉功能的基础和实验中选用单色光谱作为视觉目标所得到的数据推导出人眼在中间视觉状态下的系列的光谱光视效率函数；本文研究结果证实了基于视觉功能法和视亮度匹配法所获得的光谱光视效率函数在本质上的一致性，它们都能反映出随着亮度降低而产生的浦尔金耶偏移效应(Purkinje-shift)，但本论文所采用的基于视觉功能法还能反映出人眼视觉信息处理中的颜色通道效应。

The creative point of this dissertation consists firstly in that monochromatic stimuli instead of combined spectral power distribution were used as visual object, and spectral luminous efficacy curves were drawn from the performance-based method; Comparison between performance-based method and brightness-matching method was then done and therefore connection between these two methods was developed; One more creative point is that the analysis based on the theory of neurophysiology and psychophysics leads to the conclusion that contribution of the colour channel during visual information processing is reflected from performance-based method, which should be considered when CIE develops the new mesopic photometry system.

论文的新颖之处在于实验中使用了单色光谱代替复合谱或物体色作为视觉目标，在分析中间视觉状态下视觉功能的光谱响应特性的基础上反推了人眼的光谱光视效率函数；论文更进一步验证了基于视觉功能法和传统的视亮度匹配法之间的联系，在两种方法之间构造了一座桥梁，为基于视觉功能法的使用初步建立了理论依据；同时论文创新地采用心理物理学的方法进行实验和结合物理学和视神经生理学的知识对实验结果进行分析，从而从视觉信息处理的神经机制层面证明了基于视觉功能法获得的结果包含了视觉颜色通道效应，并对CIE在建立新的中间视觉光度学系统时要充分考虑这一视觉颜色通道的影响提出了建议。

This essay used semeiology and metaphor theory as well as real examples, to discuss the problem of how the meaning raised from the visual language in the information design, which including two different angles: the structure of visual language, and the pedigree of the visual language itself; and then to discuss the receivability of visual language in the view of language deciphering.

本文应用符号学与隐喻的理论，借助实例从视觉语言的结构关系与视觉语言自身的谱系关系两个角度来分析信息设计中视觉语言的意义产生问题，并从视觉语言的诠释学层面对视觉语言的接受问题进行了研究。

Liu Yan's major paintings were abstract in both significative and psychological factors, about which she neither sedulously made an explanation nor wangled in vision. Her interest in composition were hidden in actual observation of facts or events that brought the affecting factor to her form of expression. Though we might unable to describe whatever she exactly applied paint on canvas we would be moved by it. she found her own artistic way of conveying in condition to which as if we experienced it in person.

刘艳的作品是一种象征的心理的抽象，她没有刻意地说明，也没有视觉的取巧，她把艺术的追求隐藏在生命的经验和生存的状态中，使她的形式具有感人的因素，我们可能无法描述她到底画什么，但我们会被她感动，她的状态也是我们共同的状态，但她用她的艺术语言表达出来了，我们感同身受。

The focus of the collimating lens has effects on the slope of the visual magnification curve while the focus of the imaging lens affects visual magnification of the whole moving range in the same way.

系统中视力板移动检测时，准直透镜焦距影响视觉放大率变化快慢，决定视觉放大率曲线的平缓程度；成像透镜焦距对视觉放大率产生整体影响，使视觉放大率曲线产生整体平移。

Robert Zemickis is the visual genius who directed Back to the Future, here he is back into the movies, returning into fashion with a rightfully won Best Director Oscar in hand, Zemickis is my favourite director and most of his movies have made it so, this is one of the movies that creates that vision, thanks in turn to the writers of the incredible comedy drama that uses the best conventions possible to create one of the most entertaining and spot-on movies of the 1990's.

罗伯特zemickis是视觉的天才导演回到未来，他在这里是返回到电影，返回到时装与理所当然地赢得了奥斯卡的最佳导演奖在手， zemickis是我最喜欢的导演和他的大部分电影都说得那么，这就是其中的电影创造了这一设想，表示感谢，向作家的令人难以置信的喜剧话剧，使用最好的公约，有可能创造一个最娱乐性和突击上的电影， 90年代的。

Breath, muscle contraction of the buttocks; arch body, as far as possible to hold his head, right leg straight towards the ceiling (peg-leg knee in order to avoid muscle tension).

呼气，收缩臀部肌肉；拱起身体，尽量抬起头来，右腿伸直朝向天花板（膝微屈，以避免肌肉紧张）。

The cost of moving grain food products was unchanged from May, but year over year are up 8%.

粮食产品的运输费用与5月份相比没有变化，但却比去年同期高8％。