基于非负矩阵分解和Normal_Matrix的肿瘤基因分类

文中提出了一种结合非负矩阵分解和Normal_Matrix谱分解技术的肿瘤基因分类方法.其分类过程首先是利用fdr_test记分准则粗略除去噪声基因以实现基因表达谱数据的初步降维,进而运用非负矩阵分解萃取基因间的综合属性,通过综合属性构造样本间的Normal_Matrix并对其进行奇异值分解获取表征样本类别属性的谱分量实现肿瘤类型的分类识别.采用三组具有代表性的肿瘤基因表达谱数据进行实验,通过与其他方法的对比,其结果证明了文中方法的可行性和有效性.     

重叠的穆斯堡尔谱超精细场分布函数的计算机解析方法

本文论述了超精细场连续分布的、带有重叠谱的穆斯堡尔谱拟合和超精细场分布函数的计算机算法,用本算法建立的程序,在PDP—11/23和ND—100型计算机上,成功地进行了拟合和超精细场分布函数计算。     

核磁共振氢谱法定性鉴定甘露聚糖肽

建立了核磁共振氢谱法定性鉴定甘露聚糖肽的方法,选择异头氢区(δ4.89~5.90)作为"指纹"鉴定区,以甘露聚糖肽标准品氢谱为参照图谱,将鉴定的样品谱图与其比较,采用相关系数法计算样品谱图与标准谱图的相似度,并对该方法的特异性、重复性及精密度进行验证。经鉴定,9个不同批次的甘露聚糖肽样品的鉴定结果均与标准图谱一致,相似度均大于0.95,该方法具有很好的专属性。核磁共振氢谱法用于甘露聚糖肽的定性鉴定,具有操作简便、重复性好、专属性强等优点。     

一种基于DSP的任意功率谱随机信号产生器

从随机信号功率谱的定义出发，推导出功率谱满足给定数据的平稳随机信号的计算原理，在此基础上给出了一个基于高速DSP芯片的系统，作为从系统它可以同上位计算机通信，接收来自上位计算机的功率谱数据的控制参数，并通过数模转换器实时输出计算出的随机信号。     

Cahn—Hilliard方程的一类弱条件稳定的谱格式

研究一类非线性Ｃａｈｎ－Ｈｉｌｉａｒｄ方程的谱方法和拟谱方法，构造了一类弱条件稳定的全离散显式谱格式及拟谱格式．利用非线性函数有界延拓法和Ｓｏｂｏｌｅｖ不等式证明了格式的收敛性和稳定性．该拟谱格式为一显式，但具有隐格式的收敛精度与稳定性，容易在计算机上实现．最后给出数值结果．     

广义分数低阶协方差谱及谐波频率估计

为了进一步探索a稳定分布的谱定义,该文提出了广义分数低阶协方差谱的概念,它对a稳定分布随机过程作非线性变换,使变换后的随机过程存在二阶统计量,从而可运用Fourier变换作频域分析.变换函数可以是对数型、Sigmoid型、反正切型等,这些变换函数不依赖于对特征指数a的先验知识的了解或估计,便于工程应用.计算机仿真表明,这些广义分数低阶谱在a稳定分布噪声条件下具有良好韧性,能够对谐波信号频率进行有效识别.     

基于纹理谱描述子的图像检索

本文利用一种相关性弱的纹理谱描述子来描述图像的纹理特征．该纹理谱描述邻域内像素灰度变化模式,并以纹理谱直方图形式表示图像内容．建立了基于中文自然语言纹理描述词的图像检索系统,构建了纹理属性词典．实验结果证明,基于纹理谱描述子的特征是提取方法速度快,检索准确率高．     

质谱力的计算机辅助分析

本文介绍了一个对质谱图进行计算机辅助分析的方法，包括对输入信号的预自理确定谱峰的位置，提出了用正态分布函烽来拟合谱峰的形状，进而通过求解线性方程组来修正谱峰的强度。     

人体脉博功率谱分析与中医脉诊机理研究

利用高性能的电子检测仪器和计算机提取人体桡动态博信号并获得了脉搏功率谱图（PSG）。谱能比（SER）被定义为脉搏功率谱上10Hz以下的谱能量民10Hz以上谱能量的比值。结果发现,健康人两手“寸、关”部位的SER值均大于100,而病人“寸、关”的某些特定部位的SER值均小于100,这些给出低SER值的特定部位与人体的病变器官相对应,也正如中医所指出的那样。最后分析和讨论了这种新方法在中医脉诊的机理研究和人体健康领域中的潜在性应用。     

程序载荷谱编制的计算机化

本文研究了程序载荷谱的计算机编制理论。为了使传统的手工编谱方法计算机化,省工省时、提高计算精度,本文提出了参数估计的复合形法,研究了合成扩展的计算机化问题、最大载荷值计算问题以及各级载荷循环次数计算问题。     

陶瓷文物专用修复粘接剂的研制

陶瓷文物专用修复粘接剂的研制钟安永，周宗华，陈德本，胡庆凤（化学系）陈德富（博物馆）陶瓷文物是我国文物宝库中璀璨的明珠，它具有极高的历史研究价值和艺术欣赏价值，因此我国陶瓷文物早已被世界各地广为珍藏，但陶瓷文物容易破损，多数陶瓷文物发掘出来就是支离破...     

Microelement analysis of source of raw materials of terracotta warriors and horses of Qin's Mausoleum in pits No. 1 and No. 2

In order to search for sources of the raw material of the Qin's terracotta warriors and horses, we selected 20 samples of pottery warriors and pottery horses of the Qin's Mausoleum from pit No. 1, 19 samples of pottery warriors and brick from pit No. 2, 20 samples of clays near the Qin's Mausoleum and 2 samples of Yaozhou porcelain bodies. The 32 kinds of element content of each sample were measured by neutron activation analysis (NAA). These data were analyzed by fu zzy cluster analysis, the trend cluster analysis diagram was obtained. The results showed that samples of terracotta warriors and horses from pits No.1 and No. 2 were closely related to the loam layer near Qin's Mausoleum, but their relations with the loess layers were not so close, and they were out of all relation to Yaozhou porcelain bodies. Thus, it could be deduced that the Li Mountain clay may be considered as the original place of the raw materials of the terracotta warriors and horses, the kiln sites might be located nearby the Qin's Mausoleum.     

高校艺术类非陶艺专业陶艺课程实践教学探索

针对高校艺术类非陶艺专业的陶艺课程时间安排有限的情况，在培养创新型人才的教育精神指导下。湛江师范学院决定立足本地条件，结合自身地域特点和专业方向特点，从建立校外陶艺教学实践基地入手进行陶艺课程实践教学的改革。确立了校内课堂、陶艺工作室的传授与校外陶瓷企业实践基地相结合的教学方法。这种教学方法丰富了课程讲授内容和实践知识，有效地提高了教学效果。     

试论钧瓷命名的理念和方法

钧瓷在世界陶瓷史上享有独特而崇高的地位,体现着中国人＂天人合一＂的精神理念。钧瓷命名是以中国传统文化为依据,以艺术审美为手段,以哲学的、宗教的、艺术的语言为载体,将其文化内涵恰当地表示出来,这既是钧瓷营销之必需,又有引领人们发现美、享受美的作用。在多元化的社会背景下,钧瓷的命名不但要求造成产品之间的区别,而且还要凸显其亮点,产生＂画龙点睛＂、＂点石成金＂之功效,使人们产生美好的联想,寄予微妙的情趣,获得审美的愉悦。钧瓷命名的理念、方法和技巧体现在钧瓷企业、品牌及产品的命名上。     

Microelement analysis of source of raw materials of terracotta warriors and horses of Qin’s Mausoleum in pits No. 1 and No. 2

In order to search for sources of the raw material of the Qin’s terracotta warriors and horses, we selected 20 samples of pottery warriors and pottery horses of the Qin’s Mausoleum from pit No. 1, 19 samples of pottery warriors and brick from pit No. 2, 20 samples of clays near the Qin’s Mausoleum and 2 samples of Yaozhou porcelain bodies. The 32 kinds of element content of each sample were measured by neutron activation analysis (NAA). These data were analyzed by fuzzy cluster analysis, the trend cluster analysis diagram was obtained. The results showed that samples of terracotta warriors and horses from pits No.1 and No. 2 were closely related to the loam layer near Qin’s Mausoleum, but their relations with the loess layers were not so close, and they were out of all relation to Yaozhou porcelain bodies. Thus, it could be deduced that the Li Mountain clay may be considered as the original place of the raw materials of the terracotta warriors and horses, the kiln sites might be located nearby the Qin’s Mausoleum.     

宋代陶瓷的装饰风格与审美意蕴

从图案装饰、釉色装饰和烧制工艺三方面阐述了宋代陶瓷艺术的特色─—即艺术美与技术美的完美结合，以此探讨它对现代设计思维的启迪。     

Fuzzy cluster analysis of the provenance of ancient Yaozhou porcelain body

The technique of neutron activation analysis (NAA) has been employed to measure the content of 29 kinds of elements in the sample of Yaozhou porcelain bodies,Then a fuzzy cluster analsis has been conducted to the NAA data and a diagram of the dynamic fuzzy cluster analysis has been achived,The results indicate that the batch of ancient Yaozhou porcelain bodies,which were of different overglaze color and were produced by different kilns during a period of over 800 years from the Tang Dynasty (618-907 A.D.) to the Yuan Dyansty(1271-1368 A.D.) ,has shared a stable and concentrated raw material source,Provenances of porcelain bodies from different times ,though having their specific independence ,enjoy a close relationship and are not far from one another,Provenances of porcelain bodies made during the Tang Dynasty and the Five Dynasties (907-960 A.D.)are found to be closer to one another,while those of the Song (960-1279A.D.) and the Jin Dynasty (1115-1234 A.D.)are comparatively concentrated in certain areas and are different from those of the Tang Dynasty .Both the tri-colored glazed pottery made in Yaozhou kilns during the Tang Dynasty and the Yaozhou porcelain bodies of the Tang period are from the same provenance.     

钧瓷的兴衰及其原因探析

钧瓷在唐代花瓷的基础上产生,北宋时期其工艺逐步成熟,金元时期钧窑系形成。经历了明代的衰落后,钧瓷在清代由仿制而逐渐复苏,新中国成立后获得新生并再铸辉煌。钧瓷的兴衰除了其自身特殊的工艺因素外,也受时代思想和审美意识的影响、政治因素的干预及经济因素的制约。     

青花瓷与水墨画的关系略论

作为中国传统最优秀的器物品类,青花瓷与水墨画有着深厚的渊源关系.形式上,青花瓷借鉴了水墨画的单色绘画、墨分五色和虚实结合等艺术手法,并融合了自身的特质;精神上,青花瓷吸收了水墨画的精髓,流露出玄远淡泊,朴素古雅的中国艺术精神.     

陶艺与环境

现代陶艺进入建筑和环境领域，是现代艺术领域的新拓展。现代陶艺和建筑，环境的融合，打破了现代陶艺是在架上纯艺术的结构形式，拓宽了其艺术语言的表现力，也有别于以往陶瓷材料在建筑和环境中的应用，而更注重人文文化和艺术表现，因而，现代陶艺不只是纯欣赏的造型艺术，同时也是具有实用价值的设计艺术，是环境设计、景观设计、建筑设计中的重要组成部分，充分、合理地利用现代陶艺这一艺术语言，是现代环境设计的一门新课题。