335 research outputs found
Biological Characteristics and Environmental Adaptation of Four Phenotypes of<i>Propylea japonica</i>(Thunberg) (Coleoptera: Coccinellidae)
No full textPan, Yue, Hu, Yuwei, Zhou, Xingmiao, Fang, Li, Lei, Chaoliang (2010): Biological Characteristics and Environmental Adaptation of Four Phenotypes ofPropylea japonica(Thunberg) (Coleoptera: Coccinellidae). The Coleopterists Bulletin 64 (3): 249-255, DOI: 10.1649/0010-065x-64.3.249.11, URL: http://dx.doi.org/10.1649/0010-065x-64.3.249.1
Fig. 3 in Biological Characteristics and Environmental Adaptation of Four Phenotypes ofPropylea japonica(Thunberg) (Coleoptera: Coccinellidae)
No full textFig. 3. Voracity of four phenotypes of adult Propylea japonica. Lowercase letters indicate significant differences among females (P <0.05); uppercase letters indicate significant differences among males (P <0.05).Published as part of <i>Pan, Yue, Hu, Yuwei, Zhou, Xingmiao, Fang, Li & Lei, Chaoliang, 2010, Biological Characteristics and Environmental Adaptation of Four Phenotypes ofPropylea japonica(Thunberg) (Coleoptera: Coccinellidae), pp. 249-255 in The Coleopterists Bulletin 64 (3)</i> on page 254, DOI: 10.1649/0010-065x-64.3.249.11, <a href="http://zenodo.org/record/10102234">http://zenodo.org/record/10102234</a>
Fig. 1 in Biological Characteristics and Environmental Adaptation of Four Phenotypes ofPropylea japonica(Thunberg) (Coleoptera: Coccinellidae)
No full textFig. 1. Four phenotypes of Propylea japonica. a) ancora: bar at basal 1/3 of elytra separated from subhumeral spots; bar at apical 1/3 of elytra fused with subapical spots; b) tessellata: bar at basal 1/3 of elytra fused with subhumeral and subapical spots; bar at apical 1/3 of elytra fused with subapical spots; c) dionea: subhumeral spots triangular or round; subapical spots elongate or round. d) feliciae: subhumeral spots present, but subapical spots absent.Published as part of <i>Pan, Yue, Hu, Yuwei, Zhou, Xingmiao, Fang, Li & Lei, Chaoliang, 2010, Biological Characteristics and Environmental Adaptation of Four Phenotypes ofPropylea japonica(Thunberg) (Coleoptera: Coccinellidae), pp. 249-255 in The Coleopterists Bulletin 64 (3)</i> on page 250, DOI: 10.1649/0010-065x-64.3.249.11, <a href="http://zenodo.org/record/10102234">http://zenodo.org/record/10102234</a>
A Combined Quantitative Structure-Activity Relationship Research of Quinolinone Derivatives as Androgen Receptor Antagonists
No full textAntiandrogens bicalutamide, flutamide and enzalutamide etc. have been used in clinical trials to treat prostate cancer by binding to and antagonizing androgen receptor (AR). Although initially effective, the drug resistance problem will emerge eventually, which results in a high medical need for novel AR antagonist exploitation. Here in this work, to facilitate the rational design of novel AR antagonists, we studied the structure-activity relationships of a series of 2-quinolinone derivatives and investigated the structural requirements for their antiandrogenic activities. Different modeling methods, including 2D MLR, 3D CoMFA and CoMSIA, were implemented to evolve QSAR models. All these models, thoroughly validated, demonstrated satisfactory results especially for the good predictive abilities. The contour maps from 3D CoMFA and CoMSIA models provide visualized explanation of key structural characteristics relevant to the antiandrogenic activities, which is summarized to a position-specific conclusion at the end. The obtained results from this research are practically useful for rational design and screening of promising chemicals with high antiandrogenic activities
A Comprehensive Understanding of Machine Learning and Deep Learning Methods for 3D Architectural Cultural Heritage Point Cloud Semantic Segmentation
No full textAs a result of the development of Artificial Intelligence (AI) techniques, in recent years, machine learning (ML) and deep learning (DL) approaches have been widely used to semantically enrich 3D architectural cultural heritage (ACH) point clouds. While existing approaches for analyzing and interpreting point clouds continue to improve, the generalizability of pre-trained ML and DL methods to various types of historic buildings remains uncertain. In this context, a comprehensive understanding of both methodologies can enable us to make more effective use of AI techniques in the ACH domain (e.g., data exploitation, model definition, analysis, and preservation). This work presents and compares two very different approaches for the 3D ACH semantic segmentation task. Specifically, we train and test a ML method based on the Random Forest (RF) classifier on the point cloud of three chapels part of the “Sacromonte Calvario di Domodossola” and on the two test scenes of the ArCH dataset. Then, we employ dynamic graph convolutional neural network (DGCNN) as our DL method, training on the ArCH dataset and testing on both the two unseen test scenes of the ArCH dataset and on the “Sacrimonti” chapel point clouds. We provide empirical experiments to illustrate the efficiency of applying ML and DL methodologies to ACH point clouds. Following that, the advantages and limitations of these two approaches are evaluated through a systematic study of the classification results. © 2022, The Author(s), under exclusive license to Springer Nature Switzerland AG
"They're the Same as Any Woman:" Professionals' Awareness of the Unique Needs of Mail Order Brides Who Experience Domestic Violence
No full textFaculty adviser: Dr. Steven M. Harris, Family Social ScienceMail order Brides (MOBs) are women who marry men through international marriage brokers. Usually, MOBs come from less developed countries than their husbands. In recent years, domestic violence in mail order marriages has been brought to public awareness. Although legal protection from government is in place, it is not always sufficient. Community resources, on the other hand, can be helpful for MOBs to escape from domestic violence. Therefore, in order to find out what community resources are available to MOBs who experience domestic violence, the author has conducted 10 interviews with professionals who work in different domestic violence service organizations in the Twin Cities area. This research suggests that only a small number of MOBs have utilized existing community resources. Cultural and language competency as well as an awareness of the unique needs of MOBs who experience domestic violence vary among organizations. Most professionals categorized MOBs as “Immigrants” and saw no difference between the needs of MOBs and those of either all women in general, or immigrant women in particular. Funding cuts and access to MOBs are the main barriers for most organizations in providing appropriate services. One interesting finding from the interviews is related to the term “Mail Order Brides;” as some who were interviewed saw MOBs as victims or other unwitting participants in the sex trafficking industry. This paper adds to our understanding of the unique needs of MOBs who experience domestic violence and whether or not community professionals are adequately prepared to assist them.This research was supported by the Undergraduate Research Opportunities Program (UROP).Wu, Yuwei. (2012). "They're the Same as Any Woman:" Professionals' Awareness of the Unique Needs of Mail Order Brides Who Experience Domestic Violence. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/123436
Snap Video: Scaled Spatiotemporal Transformers for Text-to-Video Synthesis
No full textContemporary models for generating images show remarkable quality and versatility. Swayed by these advantages, the research community repurposes them to generate videos. Since video content is highly redundant, we argue that naively bringing advances of image models to the video generation domain reduces motion fidelity, visual quality and impairs scalability. In this work, we build Snap Video, a video-first model that systematically addresses these challenges. To do that, we first extend the EDM framework to take into account spatially and temporally redundant pixels and naturally support video generation. Second, we show that a U-Net—a workhorse behind image generation—scales poorly when generating videos, requiring significant computational overhead. Hence, we propose a new transformer-based architecture that trains 3.31 times faster than U-Nets (and is ∼4.5 faster at inference). This allows us to efficiently train a text-to-video model with billions of parameters for the first time, reach state-of-the-art results on a number of benchmarks, and generate videos with substantially higher quality, temporal consistency, and motion complexity. The user studies showed that our model was favored by a large margin over the most recent methods
Scheduling of biological samples for DNA sequencing
No full textThesis (S.M.)--Massachusetts Institute of Technology, Computation for Design and Optimization Program, 2009.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.Cataloged from student submitted PDF version of thesis.Includes bibliographical references (p. 95-97).In a DNA sequencing workflow, a biological sample has to pass through multiple process steps. Two consecutive steps are hydroshearing and library construction. Samples arrive randomly into the inventory and are to complete both processes before their due dates. The research project is to decide the optimal sequence of samples to go through these two processes subject to operational constraints. Two approaches, namely, heuristic and integer programming have been pursued in this thesis. A heuristic algorithm is proposed to solve the scheduling problem. A variant of the problem involving deterministic arrivals of samples is also considered for comparison purposes. Comparison tests between the two approaches are carried out to investigate the performance of the proposed heuristic for the original problem and its variant. Sensitivity analysis of the schedule to parameters of the problem is also conducted when using both approaches.by Yuwei Hu and Chin Soon Lim.S.M
Būsimųjų muzikos mokytojų dalykinio kompetentingumo raiška Lietuvos edukologijos universitete
No full textDocuments regulating education declare that teacher training has to focus on the changing roles of a teacher and new competencies, which are of great importance for a teacher (Descriptor of Professional Competences of a Teacher, 2007; Common European Principles for Teacher Competences and Qualifications, 2005). Nowadays rapid and complicated development of the world challenges pre-service teachers of music and their competencies. These days, the profession of a music teacher is facing new professional requirements. The role of music teacher is changing – he/she becomes a creative educator, mediator, adviser, and partner. However, the pace of reorganization of music teacher training system is not very rapid. Thus, so far no empirical investigations analyzing the specifics of subject competence of the music teacher have been found yet. Therefore, it can be stated that peculiarities of developing subject competence of music teachers in essence have been scarcely investigated in the works of Lithuanian and foreign scholars. The teaching methods of modern music teachers have many new requirements, which put forward a great challenge to the teaching ability of teachers. In order to ground the importance of music teachers’ subject competence in their professional activity theoretically and practically, the problem of the research has been determined by the following questions: - what is the structure and contents of music teacher’s subject competence? - how subject competence of students – future music teachers – manifests itself? - what is the level of the subject competence of future music teachers of music? - what external factors can have an impact on subject competence expression? The object of the research is subject competences of future teachers of music. The aim of the research is to reveal peculiarities of the expression of subject competences of future music teachers. Research objectives: 1. To highlight the definitions of the subject competence of a music teacher. 2. To design a theoretical-empirical model of music teacher’s subject competence. 3. To define the level of the subject competence of pre-service teachers of music. 4. To identify the factors determining the subject competence of future music teachers. Methods of research: analysis of scientific literature, analysis of documents of education, questionnaire survey (closed and open questions), calculation of absolute and percentage frequencies, content analysis. CONCLUSIONS 1. As a key element of education, teachers play an important role in the development of new curriculum reform and the implementation of quality education. Subject competency is defined as music teacher’s knowledge, abilities and skills, values and other personal features that condition his / her successful activity in the field of music education. The following abilities (components) are characteristic of music teacher’s subject competence: 1) personality (self-) development; 2) development of musical abilities; 3) musical self-expression; 4) artistic experiences. 2. The data of the diagnostic investigation into subject competence of music teachers revealed the following: 2.1. Chinese students regard the following to be significant subject competencies of music teachers: development of musical self-expression (to reveal personal understanding of the composition being performed, to convey nuance of tempo, dynamics, intonation of the composition being performed in an original way); development of musical abilities (to apply musical interpretation skills (singing, conducting, playing musical instruments) in music teaching practice); personality (self-) development (to design one’s career: plan and systematically improve one’s professional activity); artistic experiences (to feel the need to express oneself while playing music, to admire the composition being performed). 2.2. Lithuanian students regard the following to be significant competencies of music teachers: development of musical self-expression (to seek for the quality of performance of the composition with all one’s might, to bring out the original interpretation of the composition while playing music, to make an ingenious use of the possibilities of mimic, look, movement to convey the artistic image of the composition); personality (self-) development (to evaluate and improve own personality features, to analyse your musical activity and competencies); development of musical abilities (to apply musical interpretation skills (singing, conducting, playing musical instruments) skills in music teaching practice, to integrate the musical knowledge in music teaching practice); artistic experiences (to feel the need to express oneself when playing music). 3. The diagnostic research showed that the level of the expression of subject competence of future music teachers was not high. 3.1. It has been revealed that subject competence of Chinese students – future music teachers – manifests itself most clearly (very high and high level) in development of musical self-expression (to seek for the quality of performance of the composition with all one’s might, to reveal personal understanding of the composition being performed and to feel harmony of the whole (contents and form) of the composition being performed, to convey nuance of tempo, dynamics, intonation of the composition being performed in an original way), development of musical abilities (single out the most favourite musical activity, to participate in musical projects, concerts), to apply musical interpretation skills (singing, conducting, playing musical instruments) in music teaching practice), personality (self-) development (to evaluate and improve your personality features), development of artistic experiences (to responsibly participate in a common musical activity, to feel the need to express oneself when playing music. It turned out that Chinese students found it the most difficult to make an ingenious use of the possibilities of mimic, look, movement to convey the artistic image of the composition (musical self-expression), to apply musical interpretation skills (singing, conducting, playing musical instruments) in music teaching practice and to integrate the musical knowledge in music teaching practice (personality (self-) development). 3.2. Subject competence of Lithuanian students manifests itself most clearly in: personality (self-) development (to analyse your musical activities and competencies, to design one’s career: plan and systematically improve one’s professional activity, to evaluate and improve your personality features), development of musical self-expression (to try to convey the idea of the composer, to reveal personal understanding of the composition being performed, to bring out the original interpretation of the composition while playing music), development of artistic experiences (to feel personal value when playing music, to get into the most subtle nuances of the work carried out), development of musical abilities (to single out the most favourite musical activity, to participate in musical projects, concerts, to use music arrangement, improvisation skills in music lessons, choir, orchestra, to integrate the musical knowledge in music teaching practice). It turned out that Lithuanian students found it most difficult to apply musical interpretation skills (singing, conducting, playing musical instruments) skills in music teaching practice, to use music arrangement, improvisation skills in music lessons, choir, orchestra (personality (self-) development). It is likely that developing these abilities can have an impact on a deeper expression of subject competence of future music teachers. 4. The external factors that influenced the development of subject competence included the programme of studies and gender. It has been established that subject competence of the second-year Master degree students is somewhat more mature compared to the Bachelor students. Subject competence of female students is somewhat more mature than that of male students.Tyrimo problema. Šių dienų muzikos mokytojo profesija susiduria su naujais iššūkiais. Šio tyrimo problema apibrėžiama klausimais: kokia yra muzikos mokytojų dalykinio kompetentingumo struktūra ir koks jos turinys? Kaip pasireiškia studentų – būsimųjų muzikos mokytojų - dalykinis kompetentingumas? Koks yra būsimųjų muzikos mokytojų dalykinio kompetentingumo lygis? Kokie išoriniai veiksniai gali turėti įtakos jo raiškai? Tyrimo objektas – būsimųjų muzikos mokytojų dalykinis kompetentingumas. Tyrimo tikslas – atskleisti būsimųjų muzikos mokytojų dalykinio kompetentingumo raiškos ypatumus. Tyrimo uždaviniai: 1. Pateikti muzikos mokytojų dalykinio kompetentingumo sampratą. 2. Parengti dalykinio kompetentingumo raiškos teorinį-empirinį modelį. 3. Nustatyti būsimųjų muzikos mokytojų dalykinio kompetentingumo lygį. 4.Išryškinti veiksnius, darančius poveikį būsimųjų muzikos mokytojų dalykiniam kompetentingumui. Tyrimo metodai: mokslinės literatūros ir švietimo dokumentų analizė, apklausa raštu, absoliučių ir procentinių dažnių skaičiavimas, turinio analizė. Išvados: 1. Muzikos mokytojų dalykinis kompetentingumas apibrėžiamas kaip muzikos mokytojo žinios, gebėjimai ir įgūdžiai, vertybės ir kitos asmeninės savybės, kurios sąlygoja sėkmingą mokytojo veiklą muzikos ugdymo srityje. Sudarytą būsimųjų muzikos mokytojų dalykinio kompetentingumo modelį sudaro šie komponentai: 1) asmenybinis ugdymasis; 2) muzikinių gebėjimų plėtojimas; 3) muzikinė saviraiška; 4) meniniai išgyvenimai. 2. Būsimųjų muzikos mokytojų dalykinio kompetentingumo diagnostinio tyrimo duomenys atskleidė, kad: 2.1. Studentų iš Kinijos nuomone, labai svarbūs muzikos mokytojo dalykinio kompetentingumo rodikliai yra: muzikinės saviraiškos plėtojimas (atskleisti atliekamo kūrinio asmeninį supratimą, savitai perteikti tempo, dinamikos, intonavimo niuansus); muzikinių gebėjimų plėtotė (taikyti muzikos interpretavimo (dainavimo, dirigavimo, grojimo muzikos instrumentais) įgūdžius muzikos pamokoje); asmenybinis ugdymas(is) (asmeninės karjeros modeliavimas, gebėjimas sistemingai tobulinti savo profesinę veiklą); meniniai išgyvenimai (saviraiškos poreikis atliekant muziką). 2.2. Lietuvių studentų nuomone, labai svarbūs muzikos mokytojo dalykinio kompetentingumo rodikliai yra: muzikinės saviraiškos plėtojimas (visomis išgalėmis siekti kūrinio atlikimo kokybės, muzikuojant išryškinti savitą kūrinio interpretaciją, išradingai panaudoti mimikos, žvilgsnio, judesio galimybes kūrinio meniniam vaizdui perteikti); asmenybinis ugdymas(is) (vertinti ir tobulinti savo asmenines savybes, analizuoti savo muzikinę veiklą ir kompetencijas); muzikinių gebėjimų plėtojimas (taikyti muzikos interpretavimo įgūdžius muzikos pamokoje; meniniai išgyvenimai (saviraiškos poreikis atliekant muziką). 3. Tyrimas parodė, kad būsimųjų muzikos mokytojų dalykinio kompetentingumo raiškos lygis yra gana aukštas. 3.1. Atskleista, kad studentų iš Kinijos dalykinis kompetentingumas labiausiai reiškiasi muzikinės saviraiškos plėtojimu (visomis išgalėmis siekti kūrinio atlikimo kokybės, atskleisti atliekamo kūrinio asmeninį supratimą, savitai perteikti tempo, dinamikos, intonavimo niuansus); muzikinių gebėjimų plėtojimu (dalyvavimas muzikiniuose projektuose, koncertuose; gebėjimas taikyti muzikos interpretavimo įgūdžius muzikos pamokoje); asmenybiniu ugdymu(si) (vertinti ir tobulinti savo asmenines savybes); meninių išgyvenimų puoselėjimu (atsakingai dalyvauti bendroje muzikinėje veikloje, saviraiškos poreikis atliekant muziką). Paaiškėjo, kad sunkiausiai studentams kinams sekasi išradingai panaudoti mimikos, žvilgsnio, judesio galimybes kūrinio meniniam vaizdui perteikti (muzikinė saviraiška) ir taikyti muzikos interpretavimo įgūdžius muzikos pamokoje (asmenybinis ugdymas(is). 3.2. Lietuvių studentų dalykinis kompetentingumas labiausiai reiškiasi asmenybiniu ugdymu(si) (analizuoti savo muzikinę veiklą ir kompetencijas, modeliuoti asmeninę karjerą), muzikinės saviraiškos plėtojimu (muzikuojant išryškinti savitą kūrinio interpretavimą, atskleisti atliekamo kūrinio asmeninį suvokimą,); meninių išgyvenimų puoselėjimu (muzikuojant jausti asmeninį vertingumą, įsijausti į subtiliausius atliekamo kūrinio niuansus); muzikinių gebėjimų plėtojimu (dalyvavimas muzikiniuose projektuose, koncertuose, gebėjimas taikyti muzikos aranžavimo ir improvizavimo įgūdžius pamokoje). Paaiškėjo, kad sunkiausiai studentams lietuviams sekasi taikyti muzikos interpretavimo, aranžavimo ir improvizavimo įgūdžius muzikos pamokoje, choro, orkestro veikloje. Tikėtina, kad šių gebėjimų tobulinimas gali turėti įtakos gilesnei būsimųjų muzikos mokytojų dalykinio kompetentingumo raiškai. 4. Nustatyta išorinių veiksnių (studijų programa, lytis) įtaka būsimųjų muzikos mokytojų dalykiniam kompetentingumui. Antro kurso magistro studijų programos studentų dalykinio kompetentingumo raiška yra aukštesnio lygio. Studenčių merginų dalykinis kompetentingumas yra šiek tiek aukštesnio lygio nei vaikinų
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