983 resultados para audiovisual equipment


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The article presents new food processing equipment for coating and frying. These are predusters, liquid enrobers and applicators for large-particle crumbs.

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Vision-based object detection has been introduced in construction for recognizing and locating construction entities in on-site camera views. It can provide spatial locations of a large number of entities, which is beneficial in large-scale, congested construction sites. However, even a few false detections prevent its practical applications. In resolving this issue, this paper presents a novel hybrid method for locating construction equipment that fuses the function of detection and tracking algorithms. This method detects construction equipment in the video view by taking advantage of entities' motion, shape, and color distribution. Background subtraction, Haar-like features, and eigen-images are used for motion, shape, and color information, respectively. A tracking algorithm steps in the process to make up for the false detections. False detections are identified by catching drastic changes in object size and appearance. The identified false detections are replaced with tracking results. Preliminary experiments show that the combination with tracking has the potential to enhance the detection performance.

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To investigate the occupational exposure levels to polychlorinated dibenzo-p-dioxins and dibenzofurans (PCDD/Fs), polybrominated diphenyl ethers (PBDEs), and polychlorinated biphenyls (PCBs), indoor dust (n = 3) in workshops and hair samples from male workers (n = 64) were collected at two electrical and electronic equipment waste (E-waste) dismantling factories located in the LQ area in east China in July 11-13, 2006. Pre- and postworkshift urines (64 of each) were also collected from the workers to study oxidative damage to DNA using 8-hydroxy-2'-deoxyguanosine (8-OHdG) as a biomarker. The concentrations of PCDD/Fs, PCDD/F-WHO-TEQs, PBDEs, PCBs and PCB-WHO-TEQs were (50.0 +/- 8.1) x 10(3), 724.1 +/- 249.6, (27.5 +/- 5.8) x 10(6), (1.6 +/- 0.4) x 10(9), (26.2 +/- 3.0) x 10(3) pg/g dry weight (dw) in dust, and (2.6 +/- 0.6) x 10(3), 42.4 +/- 9.3, (870.8 +/- 205.4) x 10(3), (1.6 +/- 0.2) x 10(6), 41.5 +/- 5.5 pg/g dw in hair, respectively. The homologue and congener profiles in the samples demonstrated that high concentrations of PCDD/Fs, PBDEs, and PCBs were originated from open burning of E-waste. The 8-OHdG levels were detected at 6.40 +/- 1.64 mu mol/mol creatinine in preworkshift urines. However, the levels significantly increased to 24.55 +/- 5.96 mu mol/mol creatinine in postworkshift urines (p < 0.05). Then, it is concluded that there is a high cancer risk originated from oxidative stress indicated by the elevated 8-OHdG levels in the E-waste dismantling workers exposed to high concentrations of PCDD/Fs, PBDEs, and PCBs.

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HIRFL-CSR工程对CSRe冷却装置电子冷却部分的控制系统在实时性和可靠性方面提出了非常高的要求。电子冷却工作环境复杂,各种干扰难以预测。从电子冷却的控制系统改进出发,以实现电子冷却的自动调束为目标,以高端FPGA和ARM嵌入式系统为基础,采用P2P通讯技术和神经元网络算法来实现对电子冷却的自动控制。该控制系统对电子冷却控制的完善提供了先进的硬件平台和软件实现方案。

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Heun Hans-Georg, Die Organisation und Ieitung der Arbeit mit audiovisuellen lehr- und Ißrnmitteln an der Humboldt-Universität zu Berlin und an anderen Hochschulen in der DDR (Organization and conducting of work with audiovidual aids at the Humboldt University and other schools of higher education in the German Democratic Republic), „Neodidagmata” XX, Poznan 1991, Adam Mickiewicz University Press, pp. 131-136. ISBN 83-232-0302-4. ISBN 0077-653X. Received: November 1987. Audiovisual aids have become now an indispensable help for teachers. The centre of audiovisual aids at the Humboldt University in Berlin performs the following tasks: a) production of audiovisual materials; b) technical service of classes and lectures and seminars and repairing of the equipment; c) information on new audiovisual aids and lending services; d) training of students and university teachers in operating audiovisual aids; e) studies on application of audiovisual aids in schools of higher education.

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Gemstone Team HEAT (Human Energy Acquisition Technology)

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A study on Extremenian music and audiovisual production has been carried out through YouTube media. The purpose of this study is to analyze all audiovisual products and also assessing what broadcasting processes are conducted by creators to publicize their musical and audiovisual works. A quantitative and qualitative study of audiovisual materials of Extremadura bands was done to find out which processes are most suitable to increase the number of viewers for videos.

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En el artículo se analizan las posibilidades que tiene el crowfunding (CF) para financiar el audiovisual. Se explica el modelo de financiación del CF y se indican las distintas ventajas que reporta para el promotor este modelo de financiación alternativa. Además se exponen ampliamente las principales características del proceso de CF seguido para financiar el cortometraje Juan y la nube (que se alzó con el Goya al Mejor corto de animación en el año 2015). Se comentan también los principales motivos que llevan a los mecenas a financiar los proyectos

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This article focuses on the reading of audiovisual productions of contemporary art as a creative process, seeking to analyse which effects of meaning the articulations between the visual and sound systems produce, and the meaning that children give to then. It describes a video art, identifying the languages that compose it and the relationships that link them. Such reading exercise had as corpus of analysis the Chair video art, by Masaru Ozaki, and counted with the theoretical and methodological support of the discourse semiotics, especially with studies on assembly procedures that articulate visual and auditory languages. Also, it presents a focal study with the meanings that a group of children gave to the video art. The findings indicate the importance of including the reading of audiovisual productions of contemporary art at school through the problematization of effects of meaning produced by the interrelation between different languages. And they suggest some subsidies that allow teachers from different areas of knowledge to reflect about the visuality in their pedagogical practice; the choice of the audiovisual materials taken to the classroom and other ways of seeing these texts edited.