1,730,253 research outputs found
Derivatives securities: what they tell us
No full textJing Chen discusses how the study of derivatives securities provides a simple way of understanding financial markets and how derivative deals offer some early warning signals.
Saccadic eye movements reveal dynamic color compensation in anomalous trichromats
No full textHere you can find the data for the paper "Saccadic eye movements reveal dynamic color compensation in anomalous trichromats" by Qiao Songlin, Karl Gegenfurtner & Jing Chen
Attentional tracking reduces cortical alpha oscillations
No full textHere you can find the data for the paper "Attentional tracking reduces cortical alpha oscillations" by Qiao Songlin,Xuemei Xia, Jing Chen& Matteo Valsecchi
Supplemental Material, sj-docx-1-cll-10.1177_09636897211041587 - Therapeutic and Systemic Adverse Events of Immune Checkpoint Inhibitors Targeting the PD-1/PD-L1 axis for Clinical Management of NSCLC
No full textSupplemental Material, sj-docx-1-cll-10.1177_09636897211041587 for Therapeutic and Systemic Adverse Events of Immune Checkpoint Inhibitors Targeting the PD-1/PD-L1 axis for Clinical Management of NSCLC by Jing Chen, Yaser Alduais and Baoan Chen in Cell Transplantation</p
sj-docx-1-tva-10.1177_15248380221129596 – Supplemental material for The Association Between Child Abuse and Aggressive Behavior: A Three-Level Meta-Analysis
No full textSupplemental material, sj-docx-1-tva-10.1177_15248380221129596 for The Association Between Child Abuse and Aggressive Behavior: A Three-Level Meta-Analysis by Guangming Ran, Qiongzhi Zhang, Qi Zhang, Jun Li and Jing Chen in Trauma, Violence, & Abuse</p
Binary shape coding using segment-Based method / Bo-Jing Chen.
No full text[[abstract]]本篇論文針對無失真形狀編碼法提出了一個新的編碼方法。基本想法主要來自於IsCC [5]，IsCC提出了一個特別的輪廓形狀稱為理想式的四連通鏈結 (ideal four-connected chain)，並使用一連串的轉向點 ( turning points )及理想式鏈結來表示任意的形狀，理想式的四連通鏈結定義為在一連串的行進方向中，只朝著兩個行進方向交替變換，即右下(左上)和左下(右上)，並使用轉向點來連接這些理想式鏈結。IsCC並不能完全的降低位元率，這是由於相鄰理想式鏈結的模式 (mode) 必需不同，而造成了多餘的轉向點。因此，我們使用八連通鏈結法取出物件輪廓的行進方向，可得到較少的方向連結 (directional link)，其次，我們使用八連通鏈結法的特性可將輪廓用一連串的線段 (segments)來表示，並使用方向 (右、右下、下) 及長度 (大於1) 來表示一個線段，一連串線段的集合我們定義為mode，每個mode裡，只有三種行進方向變換，並使用轉向點連接兩相鄰的mode，我們允許相鄰的mode相同，可減少轉向點的數目。由於我們處理的基本元素為方向鏈結，因此我們可從兩線段之間的方向鏈結找出一些關係並去除多餘的資訊。最後，在編碼的部份，我們的想法是使線段的位元長度逼近於差值鏈碼法 (DCC)，並使得位元長度的變動範圍盡可能的縮小，來彌補轉向點所需的編碼位元數，因此，可找出一組編碼表來對線段和轉向點進行編解碼。
我們模擬八種二值化影像並和其他五種無失真形狀編碼法做比較，由實驗結果可知，我們的方法可獲得較低的編碼位元數。[[abstract]]In this thesis, we propose a new technique for the lossless shapes coding while the boundary of a video object is extracted using eight-connected chain. The basic ideal is derived from IsCC [5]. The IsCC addressed a special contour shape referred to as the ideal four-connected chain and the decomposition of a contour shape as a sequence of turning points (TPs) and ideal chains. The definition of ideal four-connected chain gives that a chain only moves in two directions: right-down (left-up) and left-down (right-up). And, the TP is located between two successive ideal four-connected chains. IsCC cannot reduce the bit rate for each video sequences because the mode of successive ideal chains must be different, the redundant TPs occur. Therefore, we use eight-connected chain to extract the contour of the video object. We can get less directional links than using four-connected chain. Because of the property of eight-connected chain, the contours are represented as a series of segments each of that is denoted by using both pairs of directions (right, down, or right-down) and length (greater than one) in pixels. A set of serial segments, which are grouped to a mode, require three kinds of directional links only. A turning point (TP) [5] is located between two successive modes. We allow the same mode to occur between two successive modes. The proposed method can get less number of TPs than IsCC. Because the processed basic elements are directional links, we can find some relationships between the directions of two successive segments and reduce the redundant information. Finally, in codec, we make bit number of segment as close as to DCC and make the range of bit number as short as possible. Therefore, we find a set of code tables to encode segments and TPs.
We simulate eight kinds of binary images and compare the proposed method with five kinds of lossless shape coding schemes in term of bit rate. Simulation results show that the proposed method can get the lowest bit rate among these lossless shape-coding methods
Are there benefits to being naked? The returns and diversification impact of capital structure arbitrage
No full textGoing Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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