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1 structure from texture
Большой англо-русский и русско-английский словарь > structure from texture
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2 structure from texture
Программирование: определение структуры объекта по текстуре изображенияУниверсальный англо-русский словарь > structure from texture
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3 structure from texture
English-Russian dictionary of computer science and programming > structure from texture
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4 structure from texture
определение структуры ( объекта) по текстуреАнгло-русский словарь промышленной и научной лексики > structure from texture
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5 structure
1) структура || структурировать2) C++ структура (класс, объявленный с ключевым словом struct; его члены и базовые классы являются public по умолчанию)3) устройство; схема; конструкция•- basic control structure
- bipolar structure
- blocked structure
- block structure
- bus organized structure
- byte structure
- case structure
- chain structure
- choice structure
- CMOS structure
- coexistence structure
- cognitive structure
- collapsed tree structure
- collecting structure
- complementary transistor structure
- computational structure
- continuous emitter structure
- control structure
- cycle structure
- data structure
- demon control structure
- diagnostic structure
- DMOS structure
- domain structure
- dot structure
- escape structure
- event-driven structure
- fault-stealing structure
- file structure
- functional structure
- honeycomb structure
- iconic structure
- if-else structure
- IMOS structure
- information structure
- inheritance structure
- instruction structure
- inverted TFT structure
- iterative structure
- language structure
- lateral structure
- lattice structure
- linked-list structure
- list structure
- logical structure
- low-level structure
- machine structure
- major structure
- MIS structure
- MNOS structure
- MNS structure
- MOS structure
- multilevel directory structure
- multilevel structure
- multipath ferrite structure
- multiple bus structure
- n-channel MOS structure
- nested structure
- network structure
- nonstrict structure
- parent-child structure
- p-channel MOS structure
- phrase structure
- planar structure
- priority structure
- probability structure
- process-rich structure
- recursive structure
- refinement structure
- relational structure
- ring structure
- robust data structure
- sandwich-like structure
- selective structure
- self-aligned gate MOS structure
- sentence structure
- sequential structure
- single-bus structure
- stable structure
- structure from motion
- structure from stereo
- structure from texture
- test structure
- time structure
- topological structure
- tree-type structure
- tree structure
- user structure
- vertical groove MOS structure - word structure
- word-level structure
- work breakdown structureEnglish-Russian dictionary of computer science and programming > structure
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6 определение структуры объекта по текстуре изображения
Programming: structure from textureУниверсальный русско-английский словарь > определение структуры объекта по текстуре изображения
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7 method
1) метод; приём; способ2) методика3) технология4) система•- accelerated strength testing method-
benching method-
bullhead well control method-
electrical-surveying method-
electromagnetic surveying method-
long-wire transmitter method-
operational method-
rule of thumb method-
straight flange method of rolling beams-
symbolical method-
tee-test method-
testing method-
triangulation method-
value-iteration method -
8 textura
f.texture.* * *1 (textil) texture2 (minerales) structure* * *noun f.* * *SF texture* * *femenino texture* * *= graininess, textura, texture, weave.Ex. The limits are set by the graininess of the film, the excellence of the optical system, and the efficiency of the light sources employed.Ex. Textura, the type of the first printed books, was derived from a formal book hand written with a minimum of curves.Ex. The fruits of Mr. Kilgour's labors and creations have substantially altered the texture of contemporary America library service = Los frutos de los trabajos y creaciones del Sr. Kilgour han alterado sustancialmente la naturaleza del servicio bibliotecario de la América contemporánea.Ex. Cloth styles began to change in the 1920s with the introduction of plain uncalendered materials that made a virtue of showing the pattern of the weave.----* con textura = textured.* de color y textura parecidos al carbón = carbonaceous.* de la textura = textural.* de textura = textured.* de textura fina = fine grain, fine-grained.* * *femenino texture* * *= graininess, textura, texture, weave.Ex: The limits are set by the graininess of the film, the excellence of the optical system, and the efficiency of the light sources employed.
Ex: Textura, the type of the first printed books, was derived from a formal book hand written with a minimum of curves.Ex: The fruits of Mr. Kilgour's labors and creations have substantially altered the texture of contemporary America library service = Los frutos de los trabajos y creaciones del Sr. Kilgour han alterado sustancialmente la naturaleza del servicio bibliotecario de la América contemporánea.Ex: Cloth styles began to change in the 1920s with the introduction of plain uncalendered materials that made a virtue of showing the pattern of the weave.* con textura = textured.* de color y textura parecidos al carbón = carbonaceous.* de la textura = textural.* de textura = textured.* de textura fina = fine grain, fine-grained.* * *1 (de un tejido) texture, weave2 (de un mineral) texture, structure3 (de una obra literaria) texture* * *
textura sustantivo femenino
texture
textura sustantivo femenino
1 Tex texture
2 (tacto) feel
3 Geol structure
' textura' also found in these entries:
Spanish:
fibra
- lisa
- liso
- terrosa
- terroso
English:
even
- sliminess
- texture
* * *textura nf1. [de superficie, tela, material] texture2. [de texto, discurso] texture* * *f texture* * *textura nf: texture* * *textura n texture -
9 Creativity
Put in this bald way, these aims sound utopian. How utopian they areor rather, how imminent their realization-depends on how broadly or narrowly we interpret the term "creative." If we are willing to regard all human complex problem solving as creative, then-as we will point out-successful programs for problem solving mechanisms that simulate human problem solvers already exist, and a number of their general characteristics are known. If we reserve the term "creative" for activities like discovery of the special theory of relativity or the composition of Beethoven's Seventh Symphony, then no example of a creative mechanism exists at the present time. (Simon, 1979, pp. 144-145)Among the questions that can now be given preliminary answers in computational terms are the following: how can ideas from very different sources be spontaneously thought of together? how can two ideas be merged to produce a new structure, which shows the influence of both ancestor ideas without being a mere "cut-and-paste" combination? how can the mind be "primed," so that one will more easily notice serendipitous ideas? why may someone notice-and remember-something fairly uninteresting, if it occurs in an interesting context? how can a brief phrase conjure up an entire melody from memory? and how can we accept two ideas as similar ("love" and "prove" as rhyming, for instance) in respect of a feature not identical in both? The features of connectionist AI models that suggest answers to these questions are their powers of pattern completion, graceful degradation, sensitization, multiple constraint satisfaction, and "best-fit" equilibration.... Here, the important point is that the unconscious, "insightful," associative aspects of creativity can be explained-in outline, at least-by AI methods. (Boden, 1996, p. 273)There thus appears to be an underlying similarity in the process involved in creative innovation and social independence, with common traits and postures required for expression of both behaviors. The difference is one of product-literary, musical, artistic, theoretical products on the one hand, opinions on the other-rather than one of process. In both instances the individual must believe that his perceptions are meaningful and valid and be willing to rely upon his own interpretations. He must trust himself sufficiently that even when persons express opinions counter to his own he can proceed on the basis of his own perceptions and convictions. (Coopersmith, 1967, p. 58)he average level of ego strength and emotional stability is noticeably higher among creative geniuses than among the general population, though it is possibly lower than among men of comparable intelligence and education who go into administrative and similar positions. High anxiety and excitability appear common (e.g. Priestley, Darwin, Kepler) but full-blown neurosis is quite rare. (Cattell & Butcher, 1970, p. 315)he insight that is supposed to be required for such work as discovery turns out to be synonymous with the familiar process of recognition; and other terms commonly used in the discussion of creative work-such terms as "judgment," "creativity," or even "genius"-appear to be wholly dispensable or to be definable, as insight is, in terms of mundane and well-understood concepts. (Simon, 1989, p. 376)From the sketch material still in existence, from the condition of the fragments, and from the autographs themselves we can draw definite conclusions about Mozart's creative process. To invent musical ideas he did not need any stimulation; they came to his mind "ready-made" and in polished form. In contrast to Beethoven, who made numerous attempts at shaping his musical ideas until he found the definitive formulation of a theme, Mozart's first inspiration has the stamp of finality. Any Mozart theme has completeness and unity; as a phenomenon it is a Gestalt. (Herzmann, 1964, p. 28)Great artists enlarge the limits of one's perception. Looking at the world through the eyes of Rembrandt or Tolstoy makes one able to perceive aspects of truth about the world which one could not have achieved without their aid. Freud believed that science was adaptive because it facilitated mastery of the external world; but was it not the case that many scientific theories, like works of art, also originated in phantasy? Certainly, reading accounts of scientific discovery by men of the calibre of Einstein compelled me to conclude that phantasy was not merely escapist, but a way of reaching new insights concerning the nature of reality. Scientific hypotheses require proof; works of art do not. Both are concerned with creating order, with making sense out of the world and our experience of it. (Storr, 1993, p. xii)The importance of self-esteem for creative expression appears to be almost beyond disproof. Without a high regard for himself the individual who is working in the frontiers of his field cannot trust himself to discriminate between the trivial and the significant. Without trust in his own powers the person seeking improved solutions or alternative theories has no basis for distinguishing the significant and profound innovation from the one that is merely different.... An essential component of the creative process, whether it be analysis, synthesis, or the development of a new perspective or more comprehensive theory, is the conviction that one's judgment in interpreting the events is to be trusted. (Coopersmith, 1967, p. 59)In the daily stream of thought these four different stages [preparation; incubation; illumination or inspiration; and verification] constantly overlap each other as we explore different problems. An economist reading a Blue Book, a physiologist watching an experiment, or a business man going through his morning's letters, may at the same time be "incubating" on a problem which he proposed to himself a few days ago, be accumulating knowledge in "preparation" for a second problem, and be "verifying" his conclusions to a third problem. Even in exploring the same problem, the mind may be unconsciously incubating on one aspect of it, while it is consciously employed in preparing for or verifying another aspect. (Wallas, 1926, p. 81)he basic, bisociative pattern of the creative synthesis [is] the sudden interlocking of two previously unrelated skills, or matrices of thought. (Koestler, 1964, p. 121)11) The Earliest Stages in the Creative Process Involve a Commerce with DisorderEven to the creator himself, the earliest effort may seem to involve a commerce with disorder. For the creative order, which is an extension of life, is not an elaboration of the established, but a movement beyond the established, or at least a reorganization of it and often of elements not included in it. The first need is therefore to transcend the old order. Before any new order can be defined, the absolute power of the established, the hold upon us of what we know and are, must be broken. New life comes always from outside our world, as we commonly conceive that world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." (Ghiselin, 1985, p. 4)New life comes always from outside our world, as we commonly conceive our world. This is the reason why, in order to invent, one must yield to the indeterminate within him, or, more precisely, to certain illdefined impulses which seem to be of the very texture of the ungoverned fullness which John Livingston Lowes calls "the surging chaos of the unexpressed." Chaos and disorder are perhaps the wrong terms for that indeterminate fullness and activity of the inner life. For it is organic, dynamic, full of tension and tendency. What is absent from it, except in the decisive act of creation, is determination, fixity, and commitment to one resolution or another of the whole complex of its tensions. (Ghiselin, 1952, p. 13)[P]sychoanalysts have principally been concerned with the content of creative products, and with explaining content in terms of the artist's infantile past. They have paid less attention to examining why the artist chooses his particular activity to express, abreact or sublimate his emotions. In short, they have not made much distinction between art and neurosis; and, since the former is one of the blessings of mankind, whereas the latter is one of the curses, it seems a pity that they should not be better differentiated....Psychoanalysis, being fundamentally concerned with drive and motive, might have been expected to throw more light upon what impels the creative person that in fact it has. (Storr, 1993, pp. xvii, 3)A number of theoretical approaches were considered. Associative theory, as developed by Mednick (1962), gained some empirical support from the apparent validity of the Remote Associates Test, which was constructed on the basis of the theory.... Koestler's (1964) bisociative theory allows more complexity to mental organization than Mednick's associative theory, and postulates "associative contexts" or "frames of reference." He proposed that normal, non-creative, thought proceeds within particular contexts or frames and that the creative act involves linking together previously unconnected frames.... Simonton (1988) has developed associative notions further and explored the mathematical consequences of chance permutation of ideas....Like Koestler, Gruber (1980; Gruber and Davis, 1988) has based his analysis on case studies. He has focused especially on Darwin's development of the theory of evolution. Using piagetian notions, such as assimilation and accommodation, Gruber shows how Darwin's system of ideas changed very slowly over a period of many years. "Moments of insight," in Gruber's analysis, were the culminations of slow long-term processes.... Finally, the information-processing approach, as represented by Simon (1966) and Langley et al. (1987), was considered.... [Simon] points out the importance of good problem representations, both to ensure search is in an appropriate problem space and to aid in developing heuristic evaluations of possible research directions.... The work of Langley et al. (1987) demonstrates how such search processes, realized in computer programs, can indeed discover many basic laws of science from tables of raw data.... Boden (1990a, 1994) has stressed the importance of restructuring the problem space in creative work to develop new genres and paradigms in the arts and sciences. (Gilhooly, 1996, pp. 243-244; emphasis in original)Historical dictionary of quotations in cognitive science > Creativity
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10 Milanese
A warp loom knit fabric, made on the Milanese loom, usually from silk or rayon yarns and very fine structure. The looms are constructed with as many as 30 needles per inch and as there are two stitches on each needle this gives 60 loops in one inch of fabric. The fabric is practically ladder proof owing to the double stitches on each needle, thus if one thread breaks, the second thread holds the texture. The fabric is so fine in its mesh that very little surface is given for fracture. The machine is built from 120-in. to 168-in. wide.
См. также в других словарях:
texture — (n.) early 15c., network, structure, from M.Fr. texture, from L. textura web, texture, structure, from stem of texere to weave, from PIE root *tek to make (Cf. Skt. taksati he fashions, constructs, taksan carpenter; Avestan taЕЎa ax, hatchet … Etymology dictionary
texture — [teks′chər] n. [ME < L textura < texere, to weave: see TECHNIC] 1. Archaic a woven fabric 2. the character of a woven fabric as determined by the arrangement, size, quality, etc. of the fabric s threads [coarse texture, twilled texture] 3.… … English World dictionary
texture — textural, adj. texturally, adv. textureless, adj. /teks cheuhr/, n., v., textured, texturing. n. 1. the visual and esp. tactile quality of a surface: rough texture. 2. the characteristic structure of the interwoven or intertwined threads, strands … Universalium
Texture synthesis — is the process of algorithmically constructing a large digital image from a small digital sample image by taking advantage of its structural content. It is object of research to computer graphics and is used in many fields, amongst others digital … Wikipedia
Texture — refers to the properties held and sensations caused by the external surface of objects received through the sense of touch. Texture is sometimes used to describe the feel of non tactile sensations. Texture can also be termed as a pattern that has … Wikipedia
Texture (crystalline) — In materials science, texture is the distribution of crystallographic orientations of a polycrystalline sample. A sample in which these orientations are fully random is said to have no texture. If the crystallographic orientations are not random … Wikipedia
texture — I. noun Etymology: Latin textura, from textus, past participle of texere to weave more at technical Date: 1578 1. a. something composed of closely interwoven elements; specifically a woven cloth b. the structure formed by the threads of a fabric… … New Collegiate Dictionary
texture — /ˈtɛkstʃə / (say tekschuh) noun 1. the characteristic disposition of the interwoven or intertwined threads, strands, or the like, which make up a textile fabric. 2. the characteristic disposition of the constituent parts of any body; general… …
Structure d'impact de Chassenon — Astroblème de Rochechouart Chassenon Astroblème de Rochechouart Chassenon Image de synthèse du cratère quelques années après l’impact. Localisation Astre … Wikipédia en Français
Structure d'impact de Rochechouart — Astroblème de Rochechouart Chassenon Astroblème de Rochechouart Chassenon Image de synthèse du cratère quelques années après l’impact. Localisation Astre … Wikipédia en Français
Structure d'impact de Rochechouart-Chassenon — Astroblème de Rochechouart Chassenon Astroblème de Rochechouart Chassenon Image de synthèse du cratère quelques années après l’impact. Localisation Astre … Wikipédia en Français
