Shadow Face Research Articles

Ripeness Evaluation of Achacha Fruit Using Hyperspectral Image Data

In this study, spectral data within the wavelength range of 400–780 nm were used to evaluate the ripeness stages of achacha fruits. The ripeness status of achacha fruits was divided into seven stages. Both average and pixel-based approaches were used to assess the ripeness. The accuracy and n-level-error accuracy of each ripeness stage was predicted by using classification models (Support Vector Machine (SVM), Partial Least Square Discriminant Analysis (PLS-DA), Artificial Neural Network (ANN) and K-Nearest Neighbor (KNN)) and regression models (Partial Least Square Regression (PLSR) and Support Vector Regression (SVR)). Furthermore, how the curvature of the fruit surface affected the prediction of the ripeness stage was investigated. With the use of an averaged spectrum of fruit samples, the accuracy of the model used in this study ranged from 52.25% to 79.75%, and the one-level error accuracy (94.75–100%) was much higher. The SVM model had the highest accuracy (79.75%), and the PLSR model had the highest one-level error accuracy (100%). With the use of pixel-based ripeness prediction results and majority rule, the accuracy (58.25–79.50%) and one-level-error accuracy (95.25–99.75%) of all models was comparable with the accuracy predicted by using averaged spectrum. The pixel-based prediction results showed that the curvature of the fruit could have a noticeable effect on the ripeness evaluation values of achacha fruits with a low or high ripeness stage. Thus, using the spectral data in the central region of achacha fruits would be a relatively reliable choice for ripeness evaluation. For an achacha fruit, the ripeness value of the fruit face exposed to sunlight could be one level higher than that of the face in shadow. Furthermore, when the ripeness value of achacha fruit was close to the mid-value of two adjacent ripeness stage values, all models had a high chance of having one-level ripeness errors. Thus, using a model with high one-level error accuracy for sorting would be a practical choice for the postharvest processing of achacha fruits.

Numerical calculation and analysis of infrared radiation characteristics of stratospheric airship

In order to estimate the spatial distribution of infrared radiation of stratospheric airship, the geometric model of stratospheric airship was firstly constructed in this paper. Then, considering the influence of environmental radiation, the one-dimensional heat conduction differential equation of airship skin was established, the equation was solved by backward difference method, and the temperature distribution of airship skin was numerically calculated. On this basis, the spatial distribution of airship infrared radiation was further calculated. The results show that the infrared radiation intensity of the airship in the sunny face is higher than that in the shadow face, and the infrared radiation intensity of the airship in the 8~14μm is obviously higher than that in the 3-5μm.

Study of the influence of the pressure and rotational motion of 3D substrates processed by magnetron sputtering: A comparative study between Monte Carlo modelling and experiments

Over the last ten years, low pressure plasma solutions for materials surface treatment have been remarkable. Nevertheless, the deposition of films with a uniform thickness on 3D complex shapes is still a challenge for various deposition systems. In several cases, concavities and different substrate orientations and motions lead to macroscopic shadowing and affect the thickness uniformity. The objective of this work is to describe a modelling method able to predict the layer thickness on any surface of 3D substrates in motion and subject to vapour transported in a low pressure vessel. The meshing of objects with Delaunay-triangulation enables the modelling of complex shapes. The deposition process consists of several Monte Carlo simulations involving first the computing of the angular and energy particles distribution from the source, second their transport through the chamber and last the deposition on a meshed substrate. The algorithm is optimised with a “cell-list-linked-like” method and differs from existing models by the computation speed.The benchmarking between simulation and experimental results for Cr, Ag and Ta deposition at various pressures and on moving complex substrates with several shadowed faces is presented. Moreover, particle energy distribution will be discussed for each sample surface, mode and pressure.

Evolutionary design of a satellite thermal control system: Real experiments for a CubeSat mission

This paper studies the use of artificial evolution to automate the design of a satellite passive thermal control system. This type of adaptation often requires the use of computer simulations to evaluate fitness of a large number of candidate solutions. Simulations are required to be expedient and accurate so that solutions can be successfully transferred to reality. We explore a design process that involves three steps. On a first step candidate solutions (implemented as surface paint tiling patterns) are tested using a FEM model and ranked according to their quality to meet mission temperature requirements. On a second step the best individual is implemented as a real physical satellite mockup and tested inside a vacuum chamber, having light sources imitating the effect of solar light. On a third step the simulation model is adapted with data obtained during the real evaluation. These updated models can be further employed for continuing genetic search. Current differences between our simulation and our real physical setup are in the order of 1.45K mean squared error for faces pointing toward the light source and 2.4K mean squared errors for shadowed faces. We found that evolved tiling patterns can be 5K below engineered patterns and 8K below using unpainted aluminum satellite surfaces.

Review of Peter Kaminsky ed., Unmasking Ravel: New Perspectives on the Music (University of Rochester Press, 2011)

[1] A monochromatic portrait graces the front cover of this recently released collection of essays on Ravel. With his gaze fixed at a point beyond the bottom left corner of the cover and an enigmatic smile a la Mona Lisa, the visage of Maurice Ravel is arresting. Its sense of mystique is heightened by the soft camera focus, which blurs all of the composer's features except for his left eye at the center of the portrait, and mono-directional lighting submerges half his face in shadow. Lack of clarity constrains the gaze of the reader, stimulating curiosity. We wonder what lies beyond the unreal perfection that the portrait allows us to see. Did Ravel's averted gaze forestall the communication of telling emotions? Did his smiling lips silence revealing remarks? This portrait of Ravel epitomizes a facade-it is an illusion that defends the privacy (one might even say secrecy) of the composer's inner being.[2] Kaminsky's volume promises to bring the reader beyond this facade. Its title proclaims that Ravel will be unmasked, and in the introduction, we learn that we shall understand Ravel's music beyond its aspects-beyond the pianistic virtuosity, sonorous extended tertian chords, and tonal cadences. We also learn that the essays in the volume will re-examine the master of Ravel scholarship: Ravel as a classicist, a masked personality, an artisan, a virtuoso, as someone who was artificial or cold, who engaged the aesthetics of imposture, and who was preoccupied with ornamentation (2). The reader is thus excited by the anticipation of discovering facets of Ravel that his public image has hitherto obscured, as well as the promise that we shall by such knowledge attain greater intimacy with a great musician.[3] De-mystifying Ravel, however, can also be perilous. Revealing the composer's trade secrets, especially by deconstructing the technical means that underlie or help create the iridescent of his music, might reduce its ineffable beauty, which seems in no small part sustained by the opacity of the tropes that have dominated the composer's public image. Kaminsky's introduction assuages some of the reader's fears, however. He explains that the book will re-examine the tropes in Ravel scholarship by engaging rather than glossing over the surface aspects of his music. It will seek less to debunk those tropes than to ride the wave of a recent trend in Ravel scholarship, which is to interpret these tropes in positive ways, as enabling imaginative and novel approaches to Ravel's musical language (3).[4] By and large, the book fulfills its promise. Steven Huebner's opening essay considers literary sources of influence on Ravel's music, ranging from the openly acknowledged to the merely suggested. Huebner first considers Edgar Allan Poe, whose creative philosophy Ravel openly admired. He then discusses poets whom Ravel never cited, but with whom he frequently kept company: Leon-Paul Fargue and Tristan Klingsor. Finally, he makes a case for the influence of Henri de Regnier, who inscribed poetry on Ravel's autograph manuscripts for Jeux d'eau and Valses nobles et sentimentales. Huebner's essay is followed by another excellent one by Barbara L. Kelly that details how critics and biographers have portrayed Ravel's artistic persona. Kelly also provides glimpses into how the composer's own representations of himself do not entirely fit into-or, one might say, add dissonant overtones to-the aesthetic position in which he was posthumously placed.[5] Other essays in the volume engage in creative exegeses of Ravel's main works. The discussion of La Valse by Volker Helbing, for example, is memorable both for its identification of Ravel's oblique references to traditional (Straussian) waltz idioms as well as for its violent and dramatic language, which prompts me to suggest that maelstrom might be a more suitable metaphor for the form of the work than Helbing's chosen term spiral.(1) Peter Kaminsky breaks new ground in his analysis of L'enfant et les sortileges by correlating elements of Ravel's formal and tonal design with psychoanalytic aspects of the opera's scenario. …

Joe Millionaire And Women's Positions a question of class

Imagine the following scene: a viewer turns on the television, and there is a man onscreen, his face in shadow. The sun is a hazy brightness that burgeons over the back of this man's shoulders. The...

Organ Transplantation: Thorny Ethical Issues

Organ Transplantation: Thorny Ethical Issues

The Benton-Van Allen faces: A lateralized tachistoscopic study

The Benton-Van Allen Facial Recognition Test (FRT) was adapted to a lateralized same-different task. The lateralized same targets were either physically identical to the central upright faces or had the same face identity but were transformed ( 3 4 -views or shadowed faces). Faces were also modified to include or exclude external features. There was a left hemifield (right hemisphere) advantage only for the most difficult, shadowed faces. The absence of a left hemifield advantage for the matching of upright faces to identical or 3 4 -view faces shows bilateral competence for face processing, both by physical and by face identity, and confirms previous observations that the FRT does not discriminate left from right hemisphere-damaged patients. Removal of external features affected performance in the right but not the left visual field, suggesting that the left hemisphere uses a less feature-dependent mechanism than the right hemisphere. This effect was only present in females, who were more lateralized than males.

Physical basis for Descartes ring scattering in laser-irradiated microdroplets

Stimulated Raman scattering from laser-irradiated microdroplets is observed from two distinct spatial regions, the droplet rim and a ringlike region encircling the laser beam axis on the droplet shadow face (the Descartes ring). With the use of two pulsed laser beams, a perturbing beam and a delayed stimulated-Raman-scattering pump beam, the physical mechanism for Descartes ring scattering is investigated. Evidence is obtained of a persistent mechanism that continues even after the perturbing laser pulse is turned off. This mechanism is tentatively identified as electrostriction. The possible existence of an additional prompt mechanism that requires overlap between perturbing and pump laser pulses is also discussed.

Laser-induced breakout and detonation waves in droplets I Experiments

Temporally and spatially resolved plasma emission and stimulated Raman-scattering profiles of water droplets are simultaneously recorded at two selectable wavelengths corresponding to the emission of the resonant and nonresonant sodium, the plasma continuum, the Balmer hydrogen, and the stimulated Raman scattering of water. The propagation speed of the breakout plasma from the droplet shadow face (in the form of a packet) and from the illuminated face is determined. The relative heating of the atoms in the plasma is extracted from the differences between the emission profiles of sodium and hydrogen, which have different electronic energy levels. The plasma response to the multipulse structure of the input laser radiation provides information on plasma shedding and heating for the subsequent pulses and an additional check of the validity of the one-dimensional electrohydrodynamic model, which includes a multipulse input.

A comédia desclassificada de Martins Pena

Após indicar o caráter ideológico de conceitos básicos habitualmente mobilizados em análises da literatura dramática, este estudo tenta mostrar que é possível enxergar mais longe quando nos livramos dos limites por eles impostos. Detectada a fundamentação classista da história do teatro no Brasil, a luta ideológica aparece como um refletor capaz de iluminar aspectos normalmente obscurecidos das comédias de Martins Pena.

Shape distortion of a single water droplet by laser-induced electrostriction

Electrostrictive distortions of a flowing water droplet are photographed with a framing camera after the laser pulse is shut off. With medium-energy laser illumination, large asymmetric bulging from the droplet shadow face precedes shape oscillation of the entire droplet. With high-energy laser illumination, the bulge acquires a cylindrical shape that can eject a small droplet. The laser-induced electrostrictive force exerted on a single transparent droplet is compared with the surface-tension force.

Time-resolved shadowgraphs of large individual water and ethanol droplets vaporized by a pulsed CO_2 laser

Carbon dioxide laser-induced explosive vaporization of water and ethanol droplets at high laser fluence has been observed with time-resolved shadowgraphs. The asymmetry seen in the droplet vaporization can be qualitatively explained by comparison to the internal-field intensity distribution. A central green spot observed in the shadowgraph is attributed to the near-field distribution just outside the shadow face of the droplet when the droplet is illuminated by a visible laser. This spot can be used to probe the shape deformation and optical inhomogeneity of the droplet. The energy dependence of the explosive vaporization of water was also studied. Increasing the CO(2) laser fluence increases the rate of explosive vaporization.

Explosive vaporization of a large transparent droplet irradiated by a high intensity laser

Shadowgraph studies of the explosive vaporization of a transparent water droplet after irradiation by a high intensity beam show that dielectric breakdown occurs within the droplet shadow face and generates a dense plasma, which absorbs the laser pulse. The convective forces expel the vapor from the droplet shadow face. We have deduced (1) the vapor propagation velocities, (2) the recoil velocity of the remaining droplet, and (3) the deformation rate of the illuminated face. Droplets are noted to eject fingerlike material from the surface facing the single laser-vaporized droplet when the asymmetrical vapor intercepts the neighboring droplets.

Internal and external laser-induced avalanche breakdown of single droplets in an argon atmosphere

Laser-induced breakdown of a transparent micrometer-sized H2O droplet can be initiated only in the Ar gas in a strip outside the droplet shadow face. At a higher-input 0.532-μm Q-switched laser intensity, breakdown can also occur within the droplet. The resultant internal plasma blocks the laser from reaching the region outside the shadow face and absorbs more of the laser pulse to produce a shock wave and/or a laser-supported detonation wave. Various combinations of liquid and surrounding gas were investigated at different input intensities in order to provide information on the breakdown processes in a transparent droplet.

Propagation velocity of laser-induced plasma inside and outside a transparent droplet

The supersonic propagation velocity of the emission front of plasma produced by laser-induced breakdown of a micrometer-sized transparent droplet flowing in a gas was measured with a streak camera at three intensity levels. At low input intensity, the plasma velocities in the gas away from and toward the shadow face were determined. At medium input intensity, the plasma velocities in the gas outside the shadow face and within the liquid (traveling toward the illuminated face) were measured. At high input intensity, the plasma velocities in the gas outside the shadow face, within the liquid, and in the gas outside the illuminated face were deduced.

Laser-induced explosion of H_2O droplets: spatially resolved spectra

Photographs and spatially resolved spectra were obtained with radiation generated by an exploding water droplet. The emission within the droplet consists of stimulated Raman scattering and a continuum associated with the created plasma. The forward plume (outside the shadow face) contains plasma and atomic hydrogen ejected from the droplet. The backward plume (behind the illuminated face) contains plasma, H, and ionized O and N, resulting from ionized air. Mechanisms for laser-induced explosion of large transparent water droplets are briefly discussed.

My Mother on an Evening in Late Summer

When the moon appears and a few wind-stricken barns stand out in the low-domed hills and shine with a light that is veiled and dust-filled and that floats upon the fields, my mother, with her hair in a bun, her face in shadow, and the smoke from her cigarette coiling close to the faint yellow sheen of her dress, stands near the house and watches the seepage of late light down through the sedges, the last gray islands of cloud taken from view, and the wind ruffling the moon's ash-colored coat on the black bay.

Field Day for a Boy Soldier

ONMYPALM, my father's medals, dead as he, cover the so-called lines of head, heart, and life. I say medals, but there are only two; my hand is not very big, even now, and the medals feel heavy. never wore my mother says with attenuated gentleness. Wrapped in coarse tissue paper that smelled of almonds and soot, they tarnished in a shallow little white box of glossy cardboard such as might have enclosed condoms. Once I found and polished them when playing soldiers in a peaked cap and silver-buttoned blazer buckled tight with two belts, one around my waist, the other over my left shoulder make a Sam Browne. He let me flaunt them for an hour, then with a taut face, as if in some jubilant pain, made me wrap them up and give them back. That was during World War Two, when we pinned swastika flags the map of World War One, his war, the backdrop his four-year rise from private sergeant, his wounding not long before the Armistice, when he was honor ably broken upward. I half-salute him with the other hand, remembering from some manual how look him straight in the eye when at the proper distance and (how did it go exactly?) to raise the hand smartly until the tip of the forefinger touches the lower part of the headdress or forehead above the right eye. ... Trying reach him, be in his world, I dredged up and learned by heart some peculiar things. It amused him have a small boy, his, shoot him a stiffer-than-stiff salute. If only he could see me now. The full-blown etiquette of military compliments eludes me; holding the salute until he returns it?except he is no longer at the proper distance?I am frozen at attention. The bronze one hangs from a ring. Its ribbon is red in the center, with green and violet on either side, shaded make the colors of two rainbows; but what holds my eye is the winged figure of Victory, prim in a toga, one hand uplifted cup sky as if testing spring water. The head looks detach able. The feet have begun melt, I can't think why, unless the figure is standing in the mud of the trenches. The side of the face in shadow has a halo, not above but alongside. The brass medal is all action, though, with St. George on horseback trampling the eagle shield of the enemy powers, and a skull and cross-bones (for good measure), while the sun lifts above all like an extension of the ribbon's orange watered center. If he ever wore them, he must have had the king's head outward, so 22

Dada, Surrealism, and the Genesis of NOT I

WITH THE EXCEPTION OF THE INVISIBLE MR. GODOT HIMSELF — who never materializes on the Board where Gogo and Didi steadfastly await his appearance — none of Beckett's creations for the stage is so literally disembodied as the Mouth who speaks unendingly in Not 1. The play itself is an irreducible simplicity: we see Mouth, faintly lit from close—up and below, the rest of the face in shadow, limited to a rudimentary function: words. They begin even before the audience has had enough time to settle down — as the house lights dim, Mouth is already speaking, a voice at once unseen and unintelligible. "Suddenly, gradually," t9 quote from Mouth itself, a disturbing image confronts an uneasy audience: we see and hear a disembodied mouth, its words now intelligible but only minimally comprehensible. There is, as well, a tall standing figure, faintly lit, "sex undeterminable," enveloped from head to foot in a loose djellaba. Beckett has accustomed us to severe constrictions of physical mobility on stage: Mouth can move only lips and tongue, shaping words, while Auditor makes four brief movements consisting in simple sideways raising of the arms from sides and their falling back, in what the script tells us is "a gesture of helpless compassion." The movement lessens with each recurrence and is scarcely perceptible at the third. Not I ends where it began — the house lights go up, the images on stage fade out, Mouth continues unseen, unintelligible, and finally unheard.