991 resultados para burrow counting


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Receipt from Burrow, Chatfield and Co. for plumbing, Oct. 23, 1876.

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Receipt from John Burrow, Steam and Gas Fitter and Plumber, St. Catharines for work done, March 31, 1887.

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Receipt from John Burrow, Plumber and House Furnishings, St. Catharines for potato masher and kettles, Nov. 4, 1887.

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Receipt from John Burrow, St. Catharines for oil and other items, Jan. 1, 1888.

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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

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La microscopie par fluorescence de cellules vivantes produit de grandes quantités de données. Ces données sont composées d’une grande diversité au niveau de la forme des objets d’intérêts et possèdent un ratio signaux/bruit très bas. Pour concevoir un pipeline d’algorithmes efficaces en traitement d’image de microscopie par fluorescence, il est important d’avoir une segmentation robuste et fiable étant donné que celle-ci constitue l’étape initiale du traitement d’image. Dans ce mémoire, je présente MinSeg, un algorithme de segmentation d’image de microscopie par fluorescence qui fait peu d’assomptions sur l’image et utilise des propriétés statistiques pour distinguer le signal par rapport au bruit. MinSeg ne fait pas d’assomption sur la taille ou la forme des objets contenus dans l’image. Par ce fait, il est donc applicable sur une grande variété d’images. Je présente aussi une suite d’algorithmes pour la quantification de petits complexes dans des expériences de microscopie par fluorescence de molécules simples utilisant l’algorithme de segmentation MinSeg. Cette suite d’algorithmes a été utilisée pour la quantification d’une protéine nommée CENP-A qui est une variante de l’histone H3. Par cette technique, nous avons trouvé que CENP-A est principalement présente sous forme de dimère.

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Es una colección de poemas para niños de tres a seis años. Las rimas son al mismo tiempo entretenidas y educativas, y les ponen en contacto con la aritmética, la lectura y escritura.

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Tom no puede dormir aunque está rodeado de sus juguetes de peluche, por lo que su padre le sugiere que intente contar ovejas. Comienza a contar , pero la séptima oveja, delgada y ágil, desaparece por el armario del dormitorio antes de que el niño pestañee. El niño intenta contar otras criaturas y es sorprendido por lobos, pitones, cabras monteses, piratas, pingüinos, vampiros, fantasmas, y tigres hasta que, afortunadamente, cierra la puerta apaga la luz, y puede dormir. El cuento es acumulativo en verso. En doble página aparecen las criaturas en una variedad de tamaños, ángulos y formas, dando la sensación de movimiento. La página de la derecha es un recuadro de texto y conjuntos de siluetas. Para leer en voz alta, y para contar hasta cien. El texto es ideal para llamar la atención sobre la gran variedad de opciones de palabras y ortografía.

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A deep-tier, bow-form burrow with a long apertural neck, and several different types of infill is described from Upper Jurassic shelfal carbonates of Saudi Arabia, Miocene pelagic packstones and wackestones of Malta, and Lower Cretaceous shoreface sands and mudrocks of southern England. The two most commonly observed types of infill are a coarse-grained infill, referred to as Glyphichnus-mode (formed by sediment entering the burrow following breakage of the apertural neck), and a laminated, muddy infill, referred to as Cylindrichnus-mode, which is considered to represent passive, drought filling through a complete burrow. The type of infill and aspects of preservation show that these burrows can be used to assess the style of sedimentation, particularly steady aggradation versus periodic erosion. At present the bow-form burrow is not assigned to a specific ichnotaxon.

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Phosphorite-filled crustacean burrows associated with a Campanian-age omission surface in the north-western Negev are described. The phosphatic burrow casts weather out displaying scratches (bioglyphs) and two types of local swellings (chambers), which are flattened normal to the course of the burrow. The more abundant chamber type is a flattened spheroid (diameter 45-50 mm) or a flattened, highly prolate ellipsoid of larger dimensions, with bioglyphs. The other type is a flattened spheroid (diameter 45 mm), gently rounded on the upper side and flat on the base. Rings of elevations on the cast (representing moats) form interconnected circlets, each capped by about eight rounded hemispherical tubercles (4 x 4 mm) (pits on original), the whole forming a discrete network. The first type of chamber may have hosted the young (nursery chamber) and/or stored food. The second type of cast replicates a chamber with a pitted floor, which may have formed a brood chamber for 60-70 spherical eggs, each about 3 mm in diameter. Brood chambers in crustacean burrow systems were previously suspected, but only at burrow terminations. The interpreted K-type breeding strategy, brood care and associated functions require a high degree of social organization, none of which has been observed in extant crustaceans, but all occur within social insects.

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A reduction in the numbers of macroinvertebrates present in soil may have a negative effect on soil structure, infiltration rates, and gas exchanges. Soil pollution by metal is known to have a detrimental effect on soil macrofauna. The aim of the present study was to evaluate (1) direct and indirect effects of soil pollution on soil macroinvertebrate bioturbation and (2) effects of the two macroinvertebrate communities found in a polluted and a nonpolluted area (one supposed sensitive, the other tolerant to metals) on burrow systems parameters. Macroinvertebrate porosity was studied using X-ray tomography. Three-dimensional reconstructions and characterisation of the burrow system were obtained using image analysis. Results showed that metal pollution principally affected the spatial distribution of macropores (more macropores were found near the soil surface) and the shape of the burrow system (branching rate was higher in the polluted soil), whereas soil macroinvertebrate composition principally affects burrow density parameters (the number of burrows was higher for the sensitive macroinvertebrate community).

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Several pixel-based people counting methods have been developed over the years. Among these the product of scale-weighted pixel sums and a linear correlation coefficient is a popular people counting approach. However most approaches have paid little attention to resolving the true background and instead take all foreground pixels into account. With large crowds moving at varying speeds and with the presence of other moving objects such as vehicles this approach is prone to problems. In this paper we present a method which concentrates on determining the true-foreground, i.e. human-image pixels only. To do this we have proposed, implemented and comparatively evaluated a human detection layer to make people counting more robust in the presence of noise and lack of empty background sequences. We show the effect of combining human detection with a pixel-map based algorithm to i) count only human-classified pixels and ii) prevent foreground pixels belonging to humans from being absorbed into the background model. We evaluate the performance of this approach on the PETS 2009 dataset using various configurations of the proposed methods. Our evaluation demonstrates that the basic benchmark method we implemented can achieve an accuracy of up to 87% on sequence ¿S1.L1 13-57 View 001¿ and our proposed approach can achieve up to 82% on sequence ¿S1.L3 14-33 View 001¿ where the crowd stops and the benchmark accuracy falls to 64%.

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Counting Her Dresses and other plays, devised by Lib Taylor, is a short, mixed-media, promenade performance based on theatre writings by Gertrude Stein. Gertrude Stein was an American writer who lived in Paris for most of her adult life and was a significant figure in the development of early twentieth century modernism. She was an artists’ patron and one of the first collectors of paintings by Picasso, Matisse, Cezanne and others. She wrote novels, short stories, poetry and criticism, as well as a number of very short ‘plays’ and opera libretti. Even though her plays are very rarely performed they have been very influential in the development of avant-garde theatre. The performance juxtaposes a soundcape of voices, live performance, an ‘exhibition’ of paintings and mediated images projected onto and across the space to evoke Stein’s sense of theatre as a place of experience and emotion, not as a place of story and action. The performance comprises five theatre fragments which have been combined in a collage that alludes to the experimental art that Stein promoted.