图像处理-毕设论文外文翻译(翻译+原文)
图像处理中值滤波器中英文对照外文翻译文献
中英文资料对照外文翻译一、英文原文A NEW CONTENT BASED MEDIAN FILTERABSTRACTIn this paper the hardware implementation of a contentbased median filter suitabl e for real-time impulse noise suppression is presented. The function of the proposed ci rcuitry is adaptive; it detects the existence of impulse noise in an image neighborhood and applies the median filter operator only when necessary. In this way, the blurring o f the imagein process is avoided and the integrity of edge and detail information is pre served. The proposed digital hardware structure is capable of processing gray-scale im ages of 8-bit resolution and is fully pipelined, whereas parallel processing is used to m inimize computational time. The architecturepresented was implemented in FPGA an d it can be used in industrial imaging applications, where fast processing is of the utm ost importance. The typical system clock frequency is 55 MHz.1. INTRODUCTIONTwo applications of great importance in the area of image processing are noise filtering and image enhancement [1].These tasks are an essential part of any image pro cessor,whether the final image is utilized for visual interpretation or for automatic an alysis. The aim of noise filtering is to eliminate noise and its effects on the original im age, while corrupting the image as little as possible. To this end, nonlinear techniques (like the median and, in general, order statistics filters) have been found to provide mo re satisfactory results in comparison to linear methods. Impulse noise exists in many p ractical applications and can be generated by various sources, including a number of man made phenomena, such as unprotected switches, industrial machines and car ign ition systems. Images are often corrupted by impulse noise due to a noisy sensor or ch annel transmission errors. The most common method used for impulse noise suppressi on n forgray-scale and color images is the median filter (MF) [2].The basic drawback o f the application of the MF is the blurringof the image in process. In the general case,t he filter is applied uniformly across an image, modifying pixels that arenot contamina ted by noise. In this way, the effective elimination of impulse noise is often at the exp ense of an overalldegradation of the image and blurred or distorted features[3].In this paper an intelligent hardware structure of a content based median filter (CBMF) suita ble for impulse noise suppression is presented. The function of the proposed circuit is to detect the existence of noise in the image window and apply the corresponding MFonly when necessary. The noise detection procedure is based on the content of the im age and computes the differences between the central pixel and thesurrounding pixels of a neighborhood. The main advantage of this adaptive approach is that image blurrin g is avoided and the integrity of edge and detail information are preserved[4,5]. The pro posed digital hardware structure is capable of processing gray-scale images of 8-bitres olution and performs both positive and negative impulse noise removal. The architectt ure chosen is based on a sequence of four basic functional pipelined stages, and parall el processing is used within each stage. A moving window of a 3×3 and 5×5-pixel im age neighborhood can be selected. However, the system can be easily expanded to acc ommodate windows of larger sizes. The proposed structure was implemented using fi eld programmable gate arrays (FPGA). The digital circuit was designed, compiled and successfully simulated using the MAX+PLUS II Programmable Logic Development S ystem by Altera Corporation. The EPF10K200SFC484-1 FPGA device of the FLEX1 0KE device family was utilized for the realization of the system. The typical clock fre quency is 55 MHz and the system can be used for real-time imaging applications whe re fast processing is required [6]. As an example,the time required to perform filtering of a gray-scale image of 260×244 pixels is approximately 10.6 msec.2. ADAPTIVE FILTERING PROCEDUREThe output of a median filter at a point x of an image f depends on the values of t he image points in the neighborhood of x. This neighborhood is determined by a wind ow W that is located at point x of f including n points x1, x2, …, xn of f, with n=2k+1. The proposed adaptive content based median filter can be utilized for impulse noisesu p pression in gray-scale images. A block diagram of the adaptive filtering procedure is depicted in Fig. 1. The noise detection procedure for both positive and negative noise is as follows:(i) We consider a neighborhood window W that is located at point x of the image f. Th e differences between the central pixel at point x and the pixel values of the n-1surr ounding points of the neighborhood (excluding thevalue of the central pixel) are co mputed.(ii) The sum of the absolute values of these differences is computed, denoted as fabs(x ). This value provides ameasure of closeness between the central pixel and its su rrounding pixels.(iii) The value fabs(x) is compared to fthreshold(x), which is anappropriately selected positive integer threshold value and can be modified. The central pixel is conside red to be noise when the value fabs(x) is greater than thethreshold value fthresho d(x).(iv) When the central pixel is considered to be noise it is substituted by the median val ue of the image neighborhood,denoted as fk+1, which is the normal operationof the median filter. In the opposite case, the value of the central pixel is not altered and the procedure is repeated for the next neighborhood window.From the noised etection scheme described, it should be mentioned that the noise detection level procedure can be controlled and a range of pixel values (and not only the fixedvalues of 0 and 255, salt and pepper noise) is considered asimpulse noise.In Fig. 2 the results of the application of the median filter and the CBMF in the gray-sca le image “Peppers” are depicted.More specifically, in Fig. 2(a) the original,uncor rupted image“Peppers” is depicted. In Fig. 2(b) the original imagedegraded by 5% both positive and negative impulse noise isillustrated. In Figs 2(c) and 2(d) the resultant images of the application of median filter and CBMF for a 3×3-pixel win dow are shown, respectively. Finally, the resultant images of the application of m edian filter and CBMF for a 5×5-pixelwindow are presented in Figs 2(e) and 2(f). It can be noticed that the application of the CBMF preserves much better edges a nddetails of the images, in comparison to the median filter.A number of different objective measures can be utilized forthe evaluation of these results. The most wi dely used measures are the Mean Square Error (MSE) and the Normalized Mean Square Error (NMSE) [1]. The results of the estimation of these measures for the two filters are depicted in Table I.For the estimation of these measures, the result ant images of the filters are compared to the original, uncorrupted image.From T able I it can be noticed that the MSE and NMSE estimatedfor the application of t he CBMF are considerably smaller than those estimated for the median filter, in all the cases.Table I. Similarity measures.3. HARDWARE ARCHITECTUREThe structure of the adaptive filter comprises four basic functional units, the mo ving window unit , the median computation unit , the arithmetic operations unit , and th e output selection unit . The input data of the system are the gray-scale values of the pi xels of the image neighborhood and the noise threshold value. For the computation of the filter output a3×3 or 5×5-pixel image neighborhood can be selected. Image input d ata is serially imported into the first stage. In this way,the total number of the inputpin s are 24 (21 inputs for the input data and 3 inputs for the clock and the control signalsr equired). The output data of the system are the resultant gray-scale values computed f or the operation selected (8pins).The moving window unit is the internal memory of the system,used for storing th e input values of the pixels and for realizing the moving window operation. The pixel values of the input image, denoted as “IMAGE_INPUT[7..0]”, areimported into this u nit in serial. For the representation of thethreshold value used for the detection of a no Filter Impulse noise 5% mse Nmse(×10-2) 3×3 5×5 3×3 5×5Median CBMF 57.554 35.287 130.496 84.788 0.317 0.194 0.718 0.467ise pixel 13 bits are required. For the moving window operation a 3×3 (5×5)-pixel sep entine type memory is used, consisting of 9 (25)registers. In this way,when the windoP1 P2 P3w is moved into the next image neighborhood only 3 or 5 pixel values stored in the memory are altered. The “en5×5” control signal is used for the selection of the size of th e image window, when“en5×5” is equal to “0” (“1”) a 3×3 (5×5)-pixel neighborhood is selected. It should be mentioned that the modules of the circuit used for the 3×3-pix el window are utilized for the 5×5-pixel window as well. For these modules, 2-to-1mu ltiplexers are utilized to select the appropriate pixel values,where necessary. The mod ules that are utilized only in the case of the 5×5-pixel neighborhood are enabled by th e“en5×5” control signal. The outputs of this unit are rows ofpixel values (3 or 5, respe ctively), which are the inputs to the median computation unit.The task of the median c omputation unit is to compute themedian value of the image neighborhood in order to substitutethe central pixel value, if necessary. For this purpose a25-input sorter is utili zeed. The structure of the sorter has been proposed by Batcher and is based on the use of CS blocks. ACS block is a max/min module; its first output is the maximumof the i nputs and its second output the minimum. The implementation of a CS block includes a comparator and two 2-to-1 multiplexers. The outputs values of the sorter, denoted a s “OUT_0[7..0]”…. “OUT_24[7..0]”, produce a “sorted list” of the 25 initial pixel val ues. A 2-to-1 multiplexer isused for the selection of the median value for a 3×3 or 5×5-pixel neighborhood.The function of the arithmetic operations unit is to computethe value fabs(x), whi ch is compared to the noise threshold value in the final stage of the adaptive filter.The in puts of this unit are the surrounding pixel values and the central pixelof the neighb orhood. For the implementation of the mathematical expression of fabs(x), the circuit of this unit contains a number of adder modules. Note that registers have been used to achieve a pipelined operation. An additional 2-to-1 multiplexer is utilized for the selec tion of the appropriate output value, depending on the “en5×5” control signal. From th e implementation point of view, the use of arithmetic blocks makes this stage hardwar e demanding.The output selection unit is used for the selection of the appropriateoutput value of the performed noise suppression operation. For this selection, the corresponding no ise threshold value calculated for the image neighborhood,“NOISE_THRES HOLD[1 2..0]”,is employed. This value is compared to fabs(x) and the result of the comparison Classifies the central pixel either as impulse noise or not. If thevalue fabs(x) is greater than the threshold value fthreshold(x) the central pixel is positive or negative impulse noise and has to be eliminated. For this reason, the output of the comparison is used as the selection signal of a 2-to-1 multiplexer whose inputs are the central pixel and the c orresponding median value for the image neighborhood. The output of the multiplexer is the output of this stage and the final output of the circuit of the adaptive filter.The st ructure of the CBMF, the computation procedure and the design of the four aforeme n tioned units are illustrated in Fig. 3.ImagewindoeFigure 1: Block diagram of the filtering methodFigure 2: Results of the application of the CBMF: (a) Original image, (b) noise corrupted image (c) Restored image by a 3x3 MF, (d) Restored image by a 3x3 CBMF, (e) Restored image by a 5x5 MF and (f) Restored image by a 5x5 CBMF.4. IMPLEMENTATION ISSUESThe proposed structure was implemented in FPGA,which offer an attractive com bination of low cost, high performance and apparent flexibility, using the software pa ckage+PLUS II of Altera Corporation. The FPGA used is the EPF10K200SFC484-1 d evice of the FLEX10KE device family,a device family suitable for designs that requir e high densities and high I/O count. The 99% of the logic cells(9965/9984 logic cells) of the device was utilized to implement the circuit . The typical operating clock frequ ency of the system is 55 MHz. As a comparison, the time required to perform filtering of a gray-scale image of 260×244 pixelsusing Matlab® software on a Pentium 4/2.4 G Hz computer system is approximately 7.2 sec, whereas the corresponding time using h ardware is approximately 10.6 msec.The modification of the system to accommodate windows oflarger sizes can be done in a straightforward way, requiring onlya small nu mber of changes. More specifically, in the first unit the size of the serpentine memory P4P5P6P7P8P9SubtractorarryMedianfilteradder comparatormuitiplexerf abc(x)valueand the corresponding number of multiplexers increase following a square law. In the second unit, the sorter module should be modified,and in the third unit the number of the adder devicesincreases following a square law. In the last unit no changes are requ ired.5. CONCLUSIONSThis paper presents a new hardware structure of a content based median filter, ca pable of performing adaptive impulse noise removal for gray-scale images. The noise detection procedure takes into account the differences between the central pixel and th e surrounding pixels of a neighborhood.The proposed digital circuit is capable ofproce ssing grayscale images of 8-bit resolution, with 3×3 or 5×5-pixel neighborhoods as op tions for the computation of the filter output. However, the design of the circuit is dire ctly expandableto accommodate larger size image windows. The adaptive filter was d eigned and implemented in FPGA. The typical clock frequency is 55 MHz and the sys tem is suitable forreal-time imaging applications.REFERENCES[1] W. K. Pratt, Digital Image Processing. New York: Wiley,1991.[2] G. R. Arce, N. C. Gallagher and T. Nodes, “Median filters:Theory and applicat ions,” in Advances in ComputerVision and Image Processing, Greenwich, CT: JAI, 1986.[3] T. A. Nodes and N. C. Gallagher, Jr., “The output distributionof median type filte rs,” IEEE Transactions onCommunications, vol. COM-32, pp. 532-541, May1984.[4] T. Sun and Y. Neuvo, “Detail-preserving median basedfilters in imageprocessing,” Pattern Recognition Letters,vol. 15, pp. 341-347, Apr. 1994.[5] E. Abreau, M. Lightstone, S. K. Mitra, and K. Arakawa,“A new efficient approachfor the removal of impulsenoise from highly corrupted images,” IEEE Transa ctionson Image Processing, vol. 5, pp. 1012-1025, June 1996.[6] E. R. Dougherty and P. Laplante, Introduction to Real-Time Imaging, Bellingham:SPIE/IEEE Press, 1995.二、英文翻译基于中值滤波的新的内容摘要在本设计中的提出了基于中值滤波的硬件实现用来抑制脉冲噪声的干扰。
图像处理毕业论文
毕业论文（设计）题目：数字图像处理系统的设计与实现姓名：学院：理学与信息科学学院专业：计算机科学与技术班级：学号：指导教师：完成时间：数字图像处理系统的设计与实现摘要：随着信息技术的蓬勃发展，尤其是计算机技术的日新月异，为数字图像处理的发展提供了广阔的空间。
该数字图像处理系统是基于Windows平台的图像处理系统，实现了对灰度级图像的编辑，可以进行图像导入和导出，视图设置，可以调整图片尺寸，旋转和翻转图片，图片增强优化，图像边缘检测与分割，图像编码以及打印输出图片。
本文主要介绍了数字图像处理系统的设计和实现过程，系统设计运用MFC的设计思想，通过VC++实现系统框架，简化了软件的开发，提高了软件系统的灵活性、可扩展性和重用性。
同时系统所有的操作设计得十分简单方便，无需具备有专业的知识，也能对图片完成编辑操作。
关键词：VC++；MFC；灰度级图像；图像编辑The Design and Implementation of Digital Image Processing SystemAbstract：With the rapid development of information technology, especially in the progress of computer technology, it provides wide space to the application of Digital Image Processing. Digital image processing system is an image processing system based on the Windows platform. To realize the image editor of gray level, import and export images, view settings, you can adjust picture size, rotate and flip images Enhance the optimization and print output picture.The analysis and the implementation procedure of Digital Image Processing System were introduced in this paper. The design idea of MFC was used and the system structure was implemented by VC++. So the development of software can be predigested and flexibility, expansibility and reusability of software system can be improved.Keywords: VC++; MFC; Grayscale image; Image edit目录前言 (1)1 概述 (2)1.1课题设计的背景和意义 (2)1.2数字图像处理的方法概要与应用领域 (2)1.2.1 数字图像处理的方法概要 (2)1.2.2数字图像处理的应用领域 (4)1.3数字图像系统简介 (5)2 数字图像处理系统开发技术基础 (6)2.1C++语言优点 (6)2.2VC++平台简介 (7)2.3MFC技术简介 (8)2.3.1 封装 (8)2.3.2继承 (9)2.3.3虚拟函数和动态约束 (9)2.4MDI应用程序的构成 (10)3 需求分析 (12)3.1系统功能需求分析 (12)3.2系统处理流程分析 (12)4 系统总体设计 (14)4.1系统功能模块划分 (14)4.2类的设计 (15)4.2.1对话框类 (15)4.2.2 CMyDIB、CBmpShow、CRectTrackerEx类 (15)4.2.3系统框架类 (15)5 系统的详细设计 (16)5.1文件模块的设计 (16)5.2图像编辑模块 (18)5.3图像处理模块 (19)5.3.1图像的点运算 (20)5.3.2图像的几何运算 (23)5.3.3图像的正交变换 (25)5.3.4图像的增强和复原 (26)5.3.5图像边缘检测与分割 (28)5.3.6图像编码 (31)5.2系统调试 (32)结束语 (34)致谢 (35)参考文献 (36)前言数字图像处理（Digital Image Processing）又称为计算机图像处理，它是指将图像信号转换成数字信号并利用计算机对其进行处理的过程。
图像识别中英文对照外文翻译文献
中英文对照外文翻译文献(文档含英文原文和中文翻译)Elastic image matchingAbstractOne fundamental problem in image recognition is to establish the resemblance of two images. This can be done by searching the best pixel to pixel mapping taking into account monotonicity and continuity constraints. We show that this problem is NP-complete by reduction from 3-SAT, thus giving evidence that the known exponential time algorithms are justified, but approximation algorithms or simplifications are necessary.Keywords: Elastic image matching; Two-dimensional warping; NP-completeness 1. IntroductionIn image recognition, a common problem is to match two given images, e.g. when comparing an observed image to given references. In that pro-cess, elastic image matching, two-dimensional (2D-)warping (Uchida and Sakoe, 1998) or similar types of invariant methods (Keysers et al., 2000) can be used. For this purpose, we can define cost functions depending on the distortion introduced in the matching andsearch for the best matching with respect to a given cost function. In this paper, we show that it is an algorithmically hard problem to decide whether a matching between two images exists with costs below a given threshold. We show that the problem image matching is NP-complete by means of a reduction from 3-SAT, which is a common method of demonstrating a problem to be intrinsically hard (Garey and Johnson, 1979). This result shows the inherent computational difficulties in this type of image comparison, while interestingly the same problem is solvable for 1D sequences in polynomial time, e.g. the dynamic time warping problem in speech recognition (see e.g. Ney et al., 1992). This has the following implications: researchers who are interested in an exact solution to this problem cannot hope to find a polynomial time algorithm, unless P=NP. Furthermore, one can conclude that exponential time algorithms as presented and extended by Uchida and Sakoe (1998, 1999a,b, 2000a,b) may be justified for some image matching applications. On the other hand this shows that those interested in faster algorithms––e.g. for pattern recognition purposes––are right in searching for sub-optimal solutions. One method to do this is the restriction to local optimizations or linear approximations of global transformations as presented in (Keysers et al., 2000). Another possibility is to use heuristic approaches like simulated annealing or genetic algorithms to find an approximate solution. Furthermore, methods like beam search are promising candidates, as these are used successfully in speech recognition, although linguistic decoding is also an NP-complete problem (Casacuberta and de la Higuera, 1999). 2. Image matchingAmong the varieties of matching algorithms,we choose the one presented by Uchida and Sakoe(1998) as a starting point to formalize the problem image matching. Let the images be given as(without loss of generality) square grids of size M×M with gray values (respectively node labels)from a finite alphabet &={1，…，G}. To define thed：&×&→N , problem, two distance functions are needed,one acting on gray valuesg measuring the match in gray values, and one acting on displacement differences :Z×Z→N , measuring the distortion introduced by t he matching. For these distance ddfunctions we assume that they are monotonous functions (computable in polynomial time) of the commonly used squared Euclid-ean distance, i.ed g (g 1,g 2)=f 1(||g 1-g 2||²)and d d (z)=f 2(||z||²) monotonously increasing. Now we call the following optimization problem the image matching problem (let µ={1，…M} ).Instance: The pair( A ; B ) of two images A and B of size M×M .Solution: A mapping function f :µ×µ→µ×µ.Measure:c （A,B,f ）=),(),(j i f ij g B Ad ∑μμ⨯∈),(j i+∑⨯-⋅⋅⋅∈+-+μ}1,{1,),()))0,1(),(())0,1(),(((M j i d j i f j i f dμ⨯-⋅⋅⋅∈}1,{1,),(M j i +∑⋅⋅⋅⨯∈+-+1}-M ,{1,),()))1,0(),(())1,0(),(((μj i d j i f j i f d 1}-M ,{1,),(⋅⋅⋅⨯∈μj iGoal:min f c(A,B,f).In other words, the problem is to find the mapping from A onto B that minimizes the distance between the mapped gray values together with a measure for the distortion introduced by the mapping. Here, the distortion is measured by the deviation from the identity mapping in the two dimensions. The identity mapping fulfills f(i,j)=(i,j),and therefore ，f((i,j)+(x,y))=f(i,j)+(x,y)The corresponding decision problem is fixed by the followingQuestion:Given an instance of image matching and a cost c′, does there exist a ma pping f such that c(A,B,f)≤c′?In the definition of the problem some care must be taken concerning the distance functions. For example, if either one of the distance functions is a constant function, the problem is clearly in P (for d g constant, the minimum is given by the identity mapping and for d d constant, the minimum can be determined by sorting all possible matching for each pixel by gray value cost and mapping to one of the pixels with minimum cost). But these special cases are not those we are concerned with in image matching in general.We choose the matching problem of Uchida and Sakoe (1998) to complete the definition of the problem. Here, the mapping functions are restricted by continuity and monotonicity constraints: the deviations from the identity mapping may locally be at most one pixel (i.e. limited to the eight-neighborhood with squared Euclidean distance less than or equal to 2). This can be formalized in this approach bychoosing the functions f1,f2as e.g.f 1=id，f2(x)=step(x):=⎩⎨⎧.2,)10(,2,0>≤⋅xGxMM3. Reduction from 3-SAT3-SAT is a very well-known NP-complete problem (Garey and Johnson, 1979), where 3-SAT is defined as follows:Instance: Collection of clauses C={C1，···,CK} on a set of variables X={x1， (x)L}such that each ckconsists of 3 literals for k=1，···K .Each literal is a variable or the negation of a variable.Question:Is there a truth assignment for X which satisfies each clause ck, k=1，···K ?The dependency graph D（Ф）corresponding to an instance Ф of 3-SAT is defined to be the bipartite graph whose independent sets are formed by the set of clauses Cand the set of variables X .Two vert ices ck and x1are adjacent iff ckinvolvesx 1or-xL.Given any 3-SAT formula U, we show how to construct in polynomial time anequivalent image matching problem l（Ф）=（A(Ф),B(Ф)）; . The two images of l （Ф）are similar according to the cost function （i.e.f:c(A(Ф),B(Ф),f）≤0) iff the formulaФ is satisfiable. We perform the reduction from 3-SAT using the following steps:• From the formula Ф we construct the dependency graph D（Ф）.• The dependency graph D（Ф）is drawn in the plane.• The drawing of D（Ф）is refined to depict the logical behaviour of Ф , yielding two images（A(Ф),B(Ф)）.For this, we use three types of components: one component to represent variables of Ф , one component to represent clauses of Ф, and components which act as interfaces between the former two types. Before we give the formal reduction, we introduce these components.3.1. Basic componentsFor the reduction from 3-SAT we need five components from which we will construct the in-stances for image matching , given a Boolean formula in 3-DNF,respectively its graph. The five components are the building blocks needed for the graph drawing and will be introduced in the following, namely the representations of connectors,crossings, variables, and clauses. The connectors represent the edges and have two varieties, straight connectors and corner connectors. Each of the components consists of two parts, one for image A and one for image B , where blank pixels are considered to be of the‘background ’color.We will depict possible mappings in the following using arrows indicating the direction of displacement (where displacements within the eight-neighborhood of a pixel are the only cases considered). Blank squares represent mapping to the respective counterpart in the second image.For example, the following displacements of neighboring pixels can be used with zero cost:On the other hand, the following displacements result in costs greater than zero:Fig. 1 shows the first component, the straight connector component, which consists of a line of two different interchanging colors,here denoted by the two symbols◇and□. Given that the outside pixels are mapped to their respe ctive counterparts and the connector is continued infinitely, there are two possible ways in which the colored pixels can be mapped, namely to the left (i.e. f(2,j)=(2,j-1)) or to the right (i.e. f(2,j)=(2,j+1)),where the background pixels have different possibilities for the mapping, not influencing the main property of the connector. This property, which justifies the name ‘connector ’, is the following: It is not possible to find a mapping, which yields zero cost where the relative displacements of the connector pixels are not equal, i.e. one always has f(2,j)-(2,j)=f(2,j')-(2,j'),which can easily be observed by induction over j'.That is, given an initial displacement of one pixel (which will be ±1 in this context), the remaining end of the connector has the same displacement if overall costs of the mapping are zero. Given this property and the direction of a connector, which we define to be directed from variable to clause, wecan define the state of the connector as carrying the‘true’truth value, if the displacement is 1 pixel in the direction of the connector and as carrying the‘false’ truth value, if the displacement is -1 pixel in the direction of the connector. This property then ensures that the truth value transmitted by the connector cannot change at mappings of zero cost.Image A image Bmapping 1 mapping 2Fig. 1. The straight connector component with two possible zero cost mappings.For drawing of arbitrary graphs, clearly one also needs corners,which are represented in Fig. 2.By considering all possible displacements which guarantee overall cost zero, one can observe that the corner component also ensures the basic connector property. For example, consider the first depicted mapping, which has zero cost. On the other hand, the second mapping shows, that it is not possible to construct a zero cost mapping with both connectors‘leaving’the component. In that case, the pixel at the position marked‘? ’either has a conflict (that i s, introduces a cost greater than zero in the criterion function because of mapping mismatch) with the pixel above or to the right of it,if the same color is to be met and otherwise, a cost in the gray value mismatch term is introduced.image A image Bmapping 1 mapping 2Fig. 2. The corner connector component and two example mappings.Fig. 3 shows the variable component, in this case with two positive (to the left) and one negated output (to the right) leaving the component as connectors. Here, a fourth color is used, denoted by ·.This component has two possible mappings for thecolored pixels with zero cost, which map the vertical component of the source image to the left or the right vertical component in the target image, respectively. (In both cases the second vertical element in the target image is not a target of the mapping.) This ensures±1 pixel relative displacements at the entry to the connectors. This property again can be deducted by regarding all possible mappings of the two images.The property that follows (which is necessary for the use as variable) is that all zero cost mappings ensure that all positive connectors carry the same truth value,which is the opposite of the truth value for all the negated connectors. It is easy to see from this example how variable components for arbitrary numbers of positive and negated outputs can be constructed.image A image BImage C image DFig. 3. The variable component with two positive and one negated output and two possible mappings (for true and false truth value).Fig. 4 shows the most complex of the components, the clause component. This component consists of two parts. The first part is the horizontal connector with a 'bend' in it to the right.This part has the property that cost zero mappings are possible for all truth values of x and y with the exception of two 'false' values. This two input disjunction，can be extended to a three input dis-junction using the part in the lower left. If the z connector carries a 'false' truth value, this part can only be mapped one pixel downwards at zero cost.In that case the junction pixel (the fourth pixel in the third row) cannot be mapped upwards at zero cost and the 'two input clause' behaves as de-scribed above. On the other hand, if the z connector carries a 'true' truth value, this part can only be mapped one pixel upwards at zero cost,and the junction pixel can be mapped upwards,thus allowing both x and y to carry a 'false' truth value in a zero cost mapping. Thus there exists a zero cost mapping of the clause component iff at least one of the input connectors carries a truth value.image Aimage B mapping 1(true,true,false)mapping 2 (false,false,true,)Fig. 4. The clause component with three incoming connectors x, y , z and zero cost mappings forthe two cases(true,true,false)and (false, false, true).The described components are already sufficient to prove NP-completeness by reduction from planar 3-SAT (which is an NP-complete sub-problem of 3-SAT where the additional constraints on the instances is that the dependency graph is planar),but in order to derive a reduction from 3-SAT, we also include the possibility of crossing connectors.Fig. 5 shows the connector crossing, whose basic property is to allow zero cost mappings if the truth–values are consistently propagated. This is assured by a color change of the vertical connector and a 'flexible' middle part, which can be mapped to four different positions depending on the truth value distribution.image Aimage Bzero cost mappingFig. 5. The connector crossing component and one zero cost mapping.3.2. ReductionUsing the previously introduced components, we can now perform the reduction from 3-SAT to image matching .Proof of the claim that the image matching problem is NP-complete:Clearly, the image matching problem is in NP since, given a mapping f and two images A and B ,the computation of c（A,B,f）can be done in polynomial time. To prove NP-hardness, we construct a reduction from the 3-SAT problem. Given an instance of 3-SAT we construct two images A and B , for which a mapping of cost zero exists iff all the clauses can be satisfied.Given the dependency graph D ,we construct an embedding of the graph into a 2D pixel grid, placing the vertices on a large enough distance from each other (say100（K+L）² ).This can be done using well-known methods from graph drawing (see e.g.di Battista et al.,1999).From this image of the graph D we construct the two images A and B , using the components described above.Each vertex belonging to a variable is replaced with the respective parts of the variable component, having a number of leaving connectors equal to the number of incident edges under consideration of the positive or negative use in the respective clause. Each vertex belonging to a clause is replaced by the respective clause component,and each crossing of edges is replaced by the respective crossing component. Finally, all the edges are replaced with connectors and corner connectors, and the remaining pixels inside the rectangular hull of the construction are set to the background gray value. Clearly, the placement of the components can be done in such a way that all the components are at a large enough distance from each other, where the background pixels act as an 'insulation' against mapping of pixels, which do not belong to the same component. It can be easily seen, that the size of the constructed images is polynomial with respect to the number of vertices and edges of D and thus polynomial in the size of the instance of 3-SAT, at most in the order （K+L）².Furthermore, it can obviously be constructed in polynomial time, as the corresponding graph drawing algorithms are polynomial.Let there exist a truth assignment to the variables x1，…，xL, which satisfies allthe clauses c1，…，cK. We construct a mapping f , that satisfies c（f,A,B）=0 asfollows.For all pixels (i, j ) belonging to variable component l with A（i，j）not of the background color,set f（i，j）=（i，j-1）if xlis assigned the truth value 'true' , set f（i，j）=（i，j+1）, otherwise. For the remaining pixels of the variable component set A（i，j）=B（i，j），if f（i，j）=（i，j）, otherwise choose f（i，j）from{(i,j+1),(i+1,j+1),(i-1,j+1)}for xl'false' respectively from {(i,j-1),(i+1,j-1),(i-1,j-1)}for xl'true ',such that A（i，j）=B（f（i，j））. This assignment is always possible and has zero cost, as can be easily verified.For the pixels（i，j）belonging to (corner) connector components,the mapping function can only be extended in one way without the introduction of nonzero cost,starting from the connection with the variable component. This is ensured by thebasic connector property. By choosing f （i ，j ）=（i,j ）for all pixels of background color, we obtain a valid extension for the connectors. For the connector crossing components the extension is straight forward, although here ––as in the variable mapping ––some care must be taken with the assign ment of the background value pixels, but a zero cost assignment is always possible using the same scheme as presented for the variable mapping.It remains to be shown that the clause components can be mapped at zero cost, if at least one of the input connectors x , y , z carries a ' true' truth value.For a proof we regard alls even possibilities and construct a mapping for each case. In thedescription of the clause component it was already argued that this is possible,and due to space limitations we omit the formalization of the argument here.Finally, for all the pixels （i ，j ）not belonging to any of the components, we set f （i ，j ）=（i ，j ）thus arriving at a mapping function which has c （f ，A ，B ）=0。
A Threshold Selection Method from Gray-Level Histograms图像分割经典论文翻译(部分)
A Threshold Selection Method from Gray-Level Histograms[1][1]Otsu N, A threshold selection method from gray-level histogram. IEEE Transactions on System，Man，and Cybemetics，SMC-8，1978：62-66．一种由灰度直方图选取阈值的方法摘要介绍了一种对于画面分割自动阈值选择的非参数和无监督的方法。
最佳阈值由判别标准选择，即最大化通过灰度级所得到的类的方差。
这个过程很简单，是利用了灰度直方图0阶和第1阶的累积。
这是简单的方法扩展到多阈值的问题。
几种实验结果呈现也支持了方法的有效性。
一.简介选择灰度充分的阈值，从图片的背景中提取对象对于图像处理非常重要。
在这方面已经提出了多种技术。
在理想的情况下，直方图具有分别表示对象和背景的能力，两个峰之间有很深的明显的谷，使得阈值可以选择这个谷底。
然而，对于大多数实际图片，它常常难以精确地检测谷底，特别是在这种情况下，当谷是平的和广泛的，具有噪声充满时，或者当两个峰是在高度极其不等，通常不产生可追踪的谷。
已经出现了，为了克服这些困难，提出的一些技术。
它们是，例如，谷锐化技术[2]，这个技术限制了直方图与（拉普拉斯或梯度）的衍生物大于绝对值的像素，并且描述了绘制差分直方图方法[3]，选择灰度级的阈值与差的最大值。
这些利用在原始图象有关的信息的相邻像素（或边缘），修改直方图以便使其成为阈值是有用的。
另一类方法与参数方法的灰度直方图直接相关。
例如，该直方图在最小二乘意义上与高斯分布的总和近似，应用了统计决策程序 [4]。
然而，这种方法需要相当繁琐，有时不稳定的计算。
此外，在许多情况下，高斯分布与真实模型的近似值较小。
在任何情况下，没有一个阈值的评估标准能够对大多数的迄今所提出的方法进行评价。
这意味着，它可能是派生的最佳阈值方法来建立一个适当的标准，从更全面的角度评估阈值的“好与坏”的正确方法。
毕业设计外文文献翻译(原文+译文)
Environmental problems caused by Istanbul subway excavation and suggestionsfor remediation伊斯坦布尔地铁开挖引起的环境问题及补救建议Ibrahim Ocak Abstract：Many environmental problems caused by subway excavations have inevitably become an important point in city life. These problems can be categorized as transporting and stocking of excavated material, traffic jams, noise, vibrations, piles of dust mud and lack of supplies. Although these problems cause many difficulties,the most pressing for a big city like Istanbul is excava tion,since other listed difficulties result from it. Moreover, these problems are environmentally and regionally restricted to the period over which construction projects are underway and disappear when construction is finished. Currently, in Istanbul, there are nine subway construction projects in operation, covering approximately 73 km in length; over 200 km to be constructed in the near future. The amount of material excavated from ongoing construction projects covers approximately 12 million m3. In this study, problems—primarily, the problem with excavation waste(EW)—caused by subway excavation are analyzed and suggestions for remediation are offered.摘要：许多地铁开挖引起的环境问题不可避免地成为城市生活的重要部分。
毕设设计类外文翻译
Interior Design Supports Art Education: A Case StudyInterior design, as a field of study, is a rapidly growing area of interest – particularly for teenagers in the United States. Part of this interest stems from the proliferation ofdesign-related reality shows available through television media. Some art educators and curriculum specialists in the nation perceive the study of interior spaces as a ‘practical application’ of the arts.This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educator’s community a nd with international design students in South Korea.Lastly, the project was presented in a workshop to art education students at a higher education institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem-solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting art education.IntroductionThe design of interior spaces is a growing area of interest in the United States. Studies indicate that people spend 90 per cent of their time indoors, thereby making the quality design of interiors critical to the health and welfare of the population. Youth have been unconsciously encouraged since their childhood to develop awareness of their personal interior spaces and furnishings through popular storybooks they read that introduce the awareness of scale, proportion and ergonomics at a very young age (e.g. Three Little Bears and Alice in Wonderland). More recently, teens in the United States have become unexpectedly ‘hooked’ on design related reality shows such as Trading Spaces, Changing Rooms and Design on a Dime. Although Trading Spaces was originally intended for adults, according to the Wall Street Journal article titled ‘The Teen-Room Makeover’ (18 October 2002) the audience has more than 125,000 viewers aged 12 to 17 [1]. In support of that finding, a survey conducted in 2003 for a national chain of hardware stores discovered 65 per cent of teens said they have watched home improvement-related television shows [2].Teens seemingly have a growing interest in the design of interior spaces.In the United States in 2002, a qualitative study was developed to determine if interior design subject-matter could support national academic standards in elementary and secondary schools (kindergarten – twelfth grade) [3]. Findings of the study indicated that art educators and curriculum specialists perceived interior design to be supportive in meeting their standards as a type of ‘practical application’ of the arts. Perceptions of the curriculum specialists indicated they were looking for new ways to interpret fine art standards in their existing curriculum and that interior design offered one solution. As a result, the researcher, who was an interior design educator, was encouraged to identify and develop a project or lesson plan that could introduce children and youth to the importance of well-designed interior spaces yet support an art education standard in the nation.This article discusses an experiential interior design project that was modified from an exercise used in the freshman and sophomore college studio classes and shared with students in third grade, high school, and with international students in South Korea by this interior design educator. The educator was later invited to present this project to art education teachers at her university. The project supported several school district visual art standards, including perception and community. It was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting visual art standards.Review of literatureThe review of literature briefly discusses (1) experiential learning theory, (2) findings from a qualitative study involving art educators, and (3) the interior design link with art education. The interior design project description and process of application will follow.Experiential learningExperiential learning theory, as an application of cognitive/perceptual models, is a tool toenhance the cognitive process of students. Specifically, the experiential learning cycleinvolves a concrete experience that leads to observations and reflections then to formation of abstract concepts and generalisations, before finally testing implications from concepts in new situations [4].The Association for Experiential Education defines experiential education astheprocess by which a learner constructs knowledge, skill and value from direct experience [5]. Drengson [6] defines experiential education as the process of practical engagement withconcepts and skills applied in a practical setting and delivered through physical and practical mental activity.One of the key components to enhance student learning is reflection. Dewey [7] suggests that to have meaning, an experience must be combined with thought. Kolb [8] suggests that reflections can offer a potential source of powerful data to link theory to practice. The mental engagement of an experiential learner can involve questioning, investigation, experimentation, curiosity, problem-solving, assuming responsibility, creativity and the construction of meaning [9].Experiential learning offers the spontaneous opportunity for learning, whether from unplanned moments, natural consequences, mistakes or successes [10]. Holistically, it involves not only the cognitive but also any combination of the senses, the emotions, and the physical [11].Qualitative study involving art educatorsIn 2001, a study was conducted to determine if interior design may be supportive tokindergarten – twelfth grade (K–12) teachers in meeting national academic standards,including the arts [12]. To understand perceptions of experts in interior design and elementary and secondary education, five focus group session sand six personal interviews were conducted with interior design educators, practitioners,K–12 teachers (elementary, junior high, and high school levels), national standards curriculum specialists (local and state level), and school-to-career curriculum specialists from June 2001 to April 2002[13].Focus group findings indicated that K–12teachers, at both elementary and secondary levels, felt that interior design could be supportive in meeting visual art standards because youth are frequently analysing their personal and public spaces. Participants described specific examples of interior design materials they currently needed in their course work to include: examples of good and bad interior spaces, information about elements and principles of design as they relate to interior spaces, and hands-on col our wheels of sturdy materials. In addition they requested that the materials be low cost, stimulating,‘touchable’,recyclable, self-contained, and fun. Lesson plans the visual art teachers suggested included:• reinvention of the ‘shoe box’ projec t;• development of well-known stories (The Three Pigs, Three Little Bears, and Alice in Wonderland) into space models to teach proportion and scale. In addition, it was suggestedthe following lesson plan: use of Goldilocks story to analyse ‘client or consumer needs’;• use of a Dr Seuss story (literary passage) to generate a conceptual model that enhances creativity;• study of cultural spaces at the junior high level that would enhance study of personal expression of identity in interiors [14].The visual arts curriculum specialists indicated hat interior design –as a ‘practical application’ should be introduced in elementary levels where there is a ‘small window of opportunity’ to give good information about the visual arts. See Table 1 fo r an example of the visual art standards in kindergarten – third grade levels. One visual art specialist advocated that the design process was more important to teach than a particular design method. He suggested moving students from designing personal spaces – and the study of elements and principles of design – in elementary levels to the analysis of private and public spaces in the junior high level. Then the high school levels could be reserved for additional indepth Exploration.Today, junior high and high school students are quite attracted to design-related reality shows. Over the last five years, the number of designrelated television shows has increased dramatically [15]. Why are these shows so attractive to teens and young adults? Rodriguez [16]has suggested that this interest is linked to the teens need for expression of self andself-identity.An individual’s unique identity is established through personalisation of space, which is critical to overall development of self [17]. Developing a sense of self involves the use of symbols to communicate to others one’s personal underlying identity.Interior design link with art educationIt is not common for interior design to be linked with art education in K–12 grade levels in the United States. However, the Foundation for Interior Design EducationResearch[18]standards and guidelines – the accreditation organization for higher education interior design programmes in the nation – reveal that there are many shared areas between visual arts and interior design (e.g.elements and principles of design).Rasmussen and Wright [19]advocate the need for a new model for art education. The new model should offer youth an aesthetic education that does more than just serve the traditional concerns of established arts curriculum. Experiences indicate that young people try to make sense of their own lives by creating contextual understanding through actively, and intentionally, making connections to signs, perceptions and experiences. This is a challenge to develop a new art education model that creates a balance between social andcontextual needs, knowledge of young people, and theaesthetic medium itself.The study of interior spaces offers one such context for learning in the physical environment.People spend 90 per cent of their time in interior spaces [20]. Youth consciously or unconsciously, analyse and respond to their near environment. They also learn best if they understand why they are learning what they are learning. Application of design and art to everyday life can assist in making connections in student learning, and develop more awareness of good design as well as an appreciation of the arts. Youth need theopportunity to learn more about design and human behavior so they can learn they have choices about how supportive their environments can be. Children can [determine] how design influences their behaviors; howdesign can be used to manipulate behavior; how design can encourage or discourage conversation, establish status, put people in power positions, increase or decrease anxiety [21].Therefore, based on (1) the experiential learning theoretical underpinnings, (2) recommendations made by art educators and curriculum specialists, and (3) a call for a new ways of teaching art education, an interior design educator at a higher education institution modified an experiential design project that involved the use of elements and principles of design and an opportunity for self-expression of personal spaces. The designproblem of the personal space was changed based on the grade level.Case study project descriptionAlthough art educators and curriculum specialists perceived that interior design content could be supportive to visual art standards, it was determined that a case study project needed to be developed and presented to various grade levels. It was also determined that a conceptual model of interior spaces should be used toenhance student creativity and exploration rather than a finite model that would offer too many rules and boundaries. Project descriptionThe experiential interior design project involved the construction of athree-dimensional concept model using 44 triangular and rectangular pieces of cardstock (stiff) paper in a neutral colour [22]. The objective was to discover, manipulate and create interior spaces based on a given design problem (e.g. design your space station on a planet of your choice or design your home in the Rocky Mountains of Colorado). The purpose ofthe project was to encourage students to design a conceptual structure from the interior out, keep-ing in mind the function of the building. The student’s model had to incorporate a minimum of six spaces and three levels to encourage vertical as well as horizontal volumes. All 44 pieces of cardstock had to be used in the finished model, which sometimes posed achallenge to the youth. The cardstock pieces could not be ripped, torn, or pierced. However, they could be bent and shapedaccording to the whim of the student.Flow from one space to another and one level to another was emphasized. The decision-making design process was explained and encouraged.Outcomes consisted of a three-dimensional abstract model which, if successfully executed, demonstrated the break-down of traditional spatial paradigms. Design problemsEach student grade level was given a different design problem based on the academic standards that were to be met in that class. In some cases, several academic standards were addressed at the same time. Two national standards for visual arts in the United States were selected to be supported with this project: communication and perception. The communication standard indicates that students in kindergarten – third grade should recognise the use of the visual arts as a means of communication (e.g. select and use visual images, themes and ideas in their own work). The perception standard indicates that students know, understand and apply elements of visual arts and principles of design (e.g. Identify elements and principles of design).Third grade studentsAfter procuring appropriate permission, the design educator brought volunteer college-age interior design students to the elementary school to help administer the project. Three third grade classes (twenty students in each class) had just finished a science unit on space and orbits and were studying specific visual art standards. The children were asked to design a personal space station on a planet of their choice. The goal was to help students relate the newly learned science information to something in real life (e.g. Their home), yet encourage exploration of visual arts (see Figs. 2–4).Each team of students was given the same 44 pieces of cardstock (all cut out) in a plastic bag, a cardboard base (15” x 15” square) on which to build the model, and cellophane tape to use in constructing the model. To enhance reflection of this experiential project, each team of three students was asked to give a two-minute verbal presentation in front of the class on their finished model. In this manner, they could discuss their design solution and the design educator could assess their use of creativity through design elements and principles.The college students and design educator rotated through the three classrooms of students to answer questions, encourage use of design elements and principles, and applaud their creative exploration. The third grade teachers assisted in supporting the structure of the class and encouraging shy students who were reluctant to begin.It was interesting to observe that the children rarely built the models on their provided classroom tables. Instead,they moved to the floor space, located the base for the model in between team members, and began construction. Each team member assumed a role in the process. One team member seemed t o act as the ‘designer’, one as the ‘builder/construction crew’ and the last as the ‘supplier’ of materials. Students excitedlydiscussed the positioning of the triangular pieces of cardstock in their model, their rooms in their space stations, and the different ways to turn the model to create different vantage points.The teams of third graders had one hour to complete the models. Then their verbal presentations began, interspersed with questions and comments from the design educator and third grade teachers. Informal observations indicatedthat application of design elements and principles was strong – perhaps due to the consistent rectangular and triangular shapes that had been provided – thereby supporting the visual arts perception standard. Manipulation of shapes was innovative. Line, shape and form were used to provide movement through adjoining spaces and offered a sense of verticality. Interior volumes were created that supported human behaveour in interior spaces. For example, one team’s presentation discussed how their space station boasted an exercise room with trampolines to strengthen human muscles that weakened as a result of zero gravity in outer space. The communication standard was supported in their finished models in a couple ways. First there was a theme of design as it relates to protection from foreign objects. For example, one team’s space station on Saturn incorporated a force field to protect it from flying rocks. Other visual themes of security and safety evoked the implementation of security cameras, alien detectors, missile launchers, telescope laboratories, control stations and transport rooms. Another visual theme related to circulation. Circulation within the structure was depicted by the third graders through the use of escalators, stairs, elevators and poles. A third visual theme was unique human needs as they relate to interior spaces. Almost every team’s space station incorporated a room for their mothers! In addition, depending on the students’ personal interests, unique space station features ranged from chemical rooms to sandboxes. It was obvious in their multiple unique design solutions their use of creativity had been explored and enhanced.Evaluation and assessment that took place, after the classes were dismissed, indicated that the third grade teachers perceived that this experiential design project supported the visual arts standards in both the communication and perception components as well as the third grade science academic standard concerning space and orbits. In addition, the experiential component of the project had unexpected results when certain quiet, unassuming students in the class became animated and highly engaged in learning. One teacher shared her excitement with the design educator about a new connection that wasformed with one of students that she had not been able to connect with before the design exercise.High school studentsAfter the case study with the third grade students, it was determined to offer this project to high school students. Diversity students in a nearby community were invited to attend a complimentary design workshop at a local library. The interior design educator was asked to present a design problem that would relate to arteducation (see Figs. 6–8).Their problem was to use the same experiential project and shapes to design and construct a conceptual model of their new home or cabin in the Rocky Mountain region. The same project constraints existed. Due to the students’ ages, discussions took place prior to the exercise about innovative problem-solving, the exploration of creativity and the elements and principles of design used within the design process. Some of these elements and principles included:Scale. Awareness of human scale was addressed to develop understanding of proportion and scale of the structure and interior spaces. Shape. Triangular shapes were deliberately selected to encourage students to break paradigms of rectangular interior spaces.Colour. The cardstock pieces were of a neutral colour to enhance spatial composition rather than draw attention to colour usage or juxtaposition. Volume/Mass. The mass of thethree-dimensional model was important in communicating the use of common elements and principles of design (e.g. line, rhythm). Line. A variety of different lines (e.g. diagonal, horizontal) were investigated in the manipulation of the shapes. Space. Space was created through the manipulation of shapes. Theories of complexity, mystery and refuge within interior spaces were discussed. Informal assessment of the finished design models indicated that the design solutions werevery creative.Later that semester, by invitation, the same design project was taken to college students training to be art educators in a mini-workshop format. The art education students found the exercise effective in enhancing creativity and understanding how interior design can enhance understanding of visual arts.International studentsAlthough there was no intention to meet a national visual arts academic standard at a specific grade level, this same experiential design project was presented in Seoul, South Korea to college-aged international students. The design problem was to use the same 44 pieces to develop a design concept model for acommercial building in Seoul. Language translators were used to help the design educatorintroduce the project, guide the students through the process, and understand their verbal presentations at the end of the workshop.Students commented during and after the workshop how the model enhanced their visual literacy skills (they used different words) and creativity within the context of everyday life. The experiential nature of the workshop was seemingly a pleasure to them (see Figs.9–11).Discussion and conclusionThis interior design case study project was designed to be experiential in nature to enhance student learning of the visual arts. Student and teacher assessment of the various groups indicated enthusiasm for the design project because it enhanced creativity, explored multiple design solutions, related to real life, and increased their understanding of human behaviour within the context of the physical environment. Teacherassessment of the age groups indicated that the project did support visual art standards at the appropriate grade level. In addition, their assessment indicated satisfaction with the manner in which the interior design project encouraged student usage of the design elements and principles and the application of design to everyday living. Several instructors indicated that quiet and shy students in their class became engaged in the learning process, which had not been previously observed. Perception of art educators and art education students was that this project supported a variety of visual art standards such as perception and communication. This interior design case study project can be modified for various age and cultural groups and may be of interest to educators who are interested in working collaboratively with colleagues from other disciplines.Visual art programmes in the United States are being cut from the K–12 curriculum. By linking visual arts to an up-and-coming aesthetic field, such as interior design, there may be new ways to sustain and grow visual art programmes in the nation.References1. Orndoff, K. (2003) ASID American Society of Interior Designers 2003 Strategic Environment Report. Future Impact Education, p. 9.2. Levitz, S. (2004) Teens Hooked on Home Décor, London Free Press (Ontario, CA), 24 June, p. D2.3. Clemons, S. (2002) Collaborative Links with K–12: A Proposed Model Integrating Interior Design with National Education Standards, Journal of Interior Design, Vol. 28, No. 1, pp.40–8.4. Rubin, S. G. (1983) Overcoming Obstacles to Institutionalization of Experiential Learning Programs, New Directions for Experiential Learning, Vol. 20, pp. 43–54.5. Luckman, C. (1996) Defining Experiential Education, Journal of Experiential Education, Vol. 19, No. 1, pp. 6–7.6. Drengson, A. R. (1995) What Means this Experience? in Kraft, R. J. & Sokofs, M. [Eds] The Theory of Experiential Education. Boulder, CO: Association for Experiential Education, pp. 87–93.7. Dewey, J. (1916) Democracy and Education. New York: Macmillan.8. Kolb, D. A. (1984). Experiential Learning: Experience as the Sources of Learning and Development. Englewood Cliffs, NJ: Prentice-Hall.9. Luckmann, C. op. cit.10. Ibid.11. Carver, R. (1996) Theory for Practice: A Framework for Thinking about Experiential Education, Journal of Experiential Education, Vol. 19, No. 1, pp. 8–13.12. Clemons, S. op. cit.13. Ibid.14. Ibid.15. Bien, L. (2003) Renovating how-to TV Shows in a Race to Duplicate Success of ‘Trading Spaces’. The Post Standard (Syracuse, NY), 31 October, p. E1.16. Rodriguez, E. M. (2003) Starting Young, Miami Herald, 28 December, p. H–1.17. Baillie S. & Goeters, P. (1997) Home as a Developmental Environment. Proceedings of the American Association of Housing Educators, New Orleans, LA, pp. 32–6.18. Foundation of Interior Design Education Research (FIDER) home page. Available from URL: / (Accessed 4th January 2005).19. Rasmussen, B & Wright, P. (2001) The theatre workshop as educational space: How imagined reality is voiced and conceived, International Journal of Education & the Arts, Vol. 2, No. 2, pp.1–13.20. Environmental Protection Agency (2006) An Introduction to Indoor Air Quality (online). Available from URL: /iaq/ ia-intro.html (Accessed 26th September 2006).21. InformeDesign (n.d.) Implications, Vol. 1, No. 2, p. 2 (online). Available from URL: /# (Accessed 4th January 2005).22. Curfman, J. & Clemons, S. (1992) From Forty-Four Pieces to a New Spatial Paradigm, in Birdsong, C. [Ed.] Proceedings of the Interior Design Educators Council Southwest Regional Meeting, New Orleans, pp. 2–4./detail/refdetail?tablename=SJWD_U&filename=SJWD00000744102&uid=WEEvR EcwSlJHSldSdnQ0SWZDdUlMV1dWZi9tOGkyYTBaTzBVQjVYeENXYVp4MVRJQjI3cmZRYS9YRmhvdnlxazJRPT 0=$9A4hF_YAuvQ5obgVAqNKPCYcEjKensW4IQMovwHtwkF4VYPoHbKxJw!!Interior Design in Augmented Reality EnvironmentABSTRACTThis article presents an application of Augmented Realitytechnology for interior design. Plus, an Educational InteriorDesign Project is reviewed. Along with the dramatic progress ofdigital technology, virtual information techniques are alsorequired for architectural projects. Thus, the new technology ofAugmented Reality offers many advantages for digitalarchitectural design and construction fields. AR is also beingconsidered as a new design approach for interior design. In an ARenvironment, the virtual furniture can be displayed and modifiedin real-time on the screen, allowing the user to have an interactiveexperience with the virtual furniture in a real-world environment.Here, AR environment is exploited as the new workingenvironment for architects in architectural design works, and thenthey can do their work conveniently as such collaborativediscussion through AR environment. Finally, this study proposesa newmethod for applying AR technology to interior designwork, where a user can view virtual furniture and communicatewith 3D virtual furniture data using a dynamic and flexible userinterface. Plus, all the properties of the virtual furniture can beadjusted using occlusion- based interaction method for a TangibleAugmented Reality. General TermsApplications of computer science in modeling, visualization andmultimedia, graphics and imaging, computer vision, human-computerinteraction, et al.KeywordsAugmented Reality, Tangible AR, CAAD, ARToolKit, Interiordesign.1. INTRODUCTIONVisualizing how a particular table or chair will look in a roombefore it is decorated is a difficult challenge for anyone. Hence,Augmented Reality (AR) technology has been proposed forinterior design applications by few previous authors, for example,Koller, C. Wooward, A. Petrovski; K. Hirokazu, et al. The relateddevices typically include data glassesconnected to a。
图像处理毕业设计
图像处理毕业设计图像处理是计算机科学中的重要研究方向之一，也是目前计算机视觉技术最为基础的理论和技术之一。
图像处理技术在多个领域具有广泛的应用，如医学影像处理、安防监控、数字娱乐、远程遥感等。
本篇文章将介绍一个基于图像处理的毕业设计课题，该课题思路创新、内容丰富，具有较高的实践和研究价值。
该毕业设计的主要内容是基于深度学习的图像识别与分类。
随着深度学习技术的发展，图像识别和分类已经在很多领域得到了广泛应用。
本课题将通过研究图像识别和分类的相关理论和算法，设计并实现一个高效、准确的图像分类系统。
首先，需要对深度学习中的卷积神经网络进行深入研究。
卷积神经网络（Convolutional Neural Network，简称CNN）是当前图像处理和计算机视觉领域最为主要的模型之一，具有较强的特征提取和图像分类能力。
通过学习CNN的结构和原理，可以掌握图像处理中的特征提取和图像分类算法。
其次，需要选择并标注合适的图像数据集。
数据集的选择决定了图像分类系统的性能和效果，因此需要选择具有代表性和多样性的数据集。
同时，对数据集进行标注，即为每个图像打上正确的标签，以便后续的训练和评估。
然后，需要设计和训练一个合适的卷积神经网络模型。
通过将图像数据输入到卷积神经网络中，并通过反向传播算法对网络参数进行优化，可以得到一个具有较好分类效果的模型。
最后，需要对训练好的卷积神经网络进行测试和评估。
通过将测试集中的图像输入到训练好的模型中，并对预测结果进行比对和评估，可以得到图像分类系统的准确率、召回率等性能指标。
通过图像处理的毕业设计，可以掌握深度学习算法在图像处理中的应用，进一步提高对计算机视觉领域的理解和实践能力。
同时，通过独立完成一个复杂的实际项目，也可以培养出较强的问题解决能力和团队协作能力。
综上所述，基于深度学习的图像识别与分类是一个具有挑战性和研究价值的毕业设计课题。
通过对卷积神经网络的研究、图像数据集的选择与标注、卷积神经网络模型的设计与训练以及测试与评估，可以完成一个高效、准确的图像分类系统。
毕业设计(论文)外文资料翻译(学生用)
毕业设计外文资料翻译学院：信息科学与工程学院专业：软件工程姓名： XXXXX学号： XXXXXXXXX外文出处： Think In Java (用外文写)附件： 1.外文资料翻译译文；2.外文原文。
附件1：外文资料翻译译文网络编程历史上的网络编程都倾向于困难、复杂，而且极易出错。
程序员必须掌握与网络有关的大量细节，有时甚至要对硬件有深刻的认识。
一般地，我们需要理解连网协议中不同的“层”（Layer）。
而且对于每个连网库，一般都包含了数量众多的函数，分别涉及信息块的连接、打包和拆包；这些块的来回运输；以及握手等等。
这是一项令人痛苦的工作。
但是，连网本身的概念并不是很难。
我们想获得位于其他地方某台机器上的信息，并把它们移到这儿；或者相反。
这与读写文件非常相似，只是文件存在于远程机器上，而且远程机器有权决定如何处理我们请求或者发送的数据。
Java最出色的一个地方就是它的“无痛苦连网”概念。
有关连网的基层细节已被尽可能地提取出去，并隐藏在JVM以及Java的本机安装系统里进行控制。
我们使用的编程模型是一个文件的模型；事实上，网络连接（一个“套接字”）已被封装到系统对象里，所以可象对其他数据流那样采用同样的方法调用。
除此以外，在我们处理另一个连网问题——同时控制多个网络连接——的时候，Java内建的多线程机制也是十分方便的。
本章将用一系列易懂的例子解释Java的连网支持。
15.1 机器的标识当然，为了分辨来自别处的一台机器，以及为了保证自己连接的是希望的那台机器，必须有一种机制能独一无二地标识出网络内的每台机器。
早期网络只解决了如何在本地网络环境中为机器提供唯一的名字。
但Java面向的是整个因特网，这要求用一种机制对来自世界各地的机器进行标识。
为达到这个目的，我们采用了IP（互联网地址）的概念。
IP以两种形式存在着：(1) 大家最熟悉的DNS（域名服务）形式。
我自己的域名是。
所以假定我在自己的域内有一台名为Opus的计算机，它的域名就可以是。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
英文资料翻译Image processing is not a one step process．We are able to distinguish between several steps which must be performed one after the other until we can extract the data of interest from the observed scene．In this way a hierarchical processing scheme is built up as sketched in Fig．The figure gives an overview of the different phases of image processing.Image processing begins with the capture of an image with a suitable，not necessarily optical，acquisition system．In a technical or scientific application，we may choose to select an appropriate imaging system．Furthermore，we can set up the illumination system，choose the best wavelength range，and select other options to capture the object feature of interest in the best way in an image．Once the image is sensed，it must be brought into a form that can be treated with digital computers.This process is called digitization.With the problems of traffic are more and more serious. Thus Intelligent Transport System (ITS) comes out. The subject of the automatic recognition of license plate is one of the most significant subjects that are improved from the connection of computer vision and pattern recognition. The image imputed to the computer is disposed and analyzed in order to localization the position and recognition the characters on the license plate express these characters in text string form The license plate recognition system (LPSR) has important application in ITS. In LPSR, the first step is for locating the license plate in the captured image which is very important for character recognition. The recognition correction rate of license plate is governed by accurate degree of license plate location. In this paper, several of methods in image manipulation are compared and analyzed, then come out the resolutions for localization of the car plate. The experiences show that the good result has been got with these methods. The methods based on edge map and frequency analysis is used in the process of the localization of the license plate, that is to say, extracting the characteristics of the license plate in the car images after being checked up forthe edge, and then analyzing and processing until the probably area of license plate is extracted.The automated license plate location is a part of the image processing ,it’s also an important part in the intelligent traffic system．It is the key step in the Vehicle License Plate Recognition(LPR).A method for the recognition of images of different backgrounds and different illuminations is proposed in the paper.the upper and lower borders are determined through the gray variation regulation of the character distribution.The left and right borders are determined through the black-white variation of the pixels in every row.The first steps of digital processing may include a number of different operations and are known as image processing．If the sensor has nonlinear characteristics, these need to be corrected．Likewise，brightness and contrast of the image may require improvement．Commonly，too，coordinate transformations are needed to restore geometrical distortions introduced during image formation．Radiometric and geometric corrections are elementary pixel processing operations．It may be necessary to correct known disturbances in the image，for instance caused by a defocused optics，motion blur，errors in the sensor，or errors in the transmission of image signals．We also deal with reconstruction techniques which are required with many indirect imaging techniques such as tomography that deliver no direct image.A whole chain of processing steps is necessary to analyze and identify objects．First，adequate filtering procedures must be applied in order to distinguish the objects of interest from other objects and the background．Essentially，from an image（or several images），one or more feature images are extracted．The basic tools for this task are averaging and edge detection and the analysis of simple neighborhoods and complex patterns known as texture in image processing．An important feature of an object is also its motion．Techniques to detect and determine motion are necessary．Then the object has to be separated from the background．This means that regions of constant features and discontinuities must be identified．This process leads to alabel image．Now that we know the exact geometrical shape of the object，we can extract further information such as the mean gray value，the area，perimeter，and other parameters for the form of the object[3]．These parameters can be used to classify objects．This is an important step in many applications of image processing，as the following examples show：In a satellite image showing an agricultural area，we would like to distinguish fields with different fruits and obtain parameters to estimate their ripeness or to detect damage by parasites．There are many medical applications where the essential problem is to detect pathologi-al changes．A classic example is the analysis of aberrations in chromosomes．Character recognition in printed and handwritten text is another example which has been studied since image processing began and still poses significant difficulties．You hopefully do more，namely try to understand the meaning of what you are reading．This is also the final step of image processing，where one aims to understand the observed scene．We perform this task more or less unconsciously whenever we use our visual system．We recognize people，we can easily distinguish between the image of a scientific lab and that of a living room，and we watch the traffic to cross a street safely．We all do this without knowing how the visual system works．For some times now，image processing and computer-graphics have been treated as two different areas．Knowledge in both areas has increased considerably and more complex problems can now be treated．Computer graphics is striving to achieve photorealistic computer-generated images of three-dimensional scenes，while image processing is trying to reconstruct one from an image actually taken with a camera．In this sense，image processing performs the inverse procedure to that of computer graphics．We start with knowledge of the shape and features of an object—at the bottom of Fig. and work upwards until we get a two-dimensional image．To handle image processing or computer graphics，we basically have to work from the same knowledge．We need to know the interaction between illumination and objects，how a three-dimensional scene is projected onto an image plane，etc．There are still quite a few differences between an image processing and a graphics workstation．But we can envisage that，when the similarities and interrelations between computergraphics and image processing are better understood and the proper hardware is developed，we will see some kind of general-purpose workstation in the future which can handle computer graphics as well as image processing tasks[5]．The advent of multimedia，i. e. ，the integration of text，images，sound，and movies，will further accelerate the unification of computer graphics and image processing.In January 1980 Scientific American published a remarkable image called Plume2，the second of eight volcanic eruptions detected on the Jovian moon by the spacecraft Voyager 1 on 5 March 1979．The picture was a landmark image in interplanetary exploration—the first time an erupting volcano had been seen in space．It was also a triumph for image processing．Satellite imagery and images from interplanetary explorers have until fairly recently been the major users of image processing techniques，where a computer image is numerically manipulated to produce some desired effect-such as making a particular aspect or feature in the image more visible.Image processing has its roots in photo reconnaissance in the Second World War where processing operations were optical and interpretation operations were performed by humans who undertook such tasks as quantifying the effect of bombing raids．With the advent of satellite imagery in the late 1960s，much computer-based work began and the color composite satellite images，sometimes startlingly beautiful, have become part of our visual culture and the perception of our planet．Like computer graphics，it was until recently confined to research laboratories which could afford the expensive image processing computers that could cope with the substantial processing overheads required to process large numbers of high-resolution images．With the advent of cheap powerful computers and image collection devices like digital cameras and scanners，we have seen a migration of image processing techniques into the public domain．Classical image processing techniques are routinely employed bygraphic designers to manipulate photographic and generated imagery，either to correct defects，change color and so on or creatively to transform the entire look of an image by subjecting it to some operation such as edge enhancement.A recent mainstream application of image processing is the compression of images—either for transmission across the Internet or the compression of moving video images in video telephony and video conferencing．Video telephony is one of the current crossover areas that employ both computer graphics and classical image processing techniques to try to achieve very high compression rates．All this is part of an inexorable trend towards the digital representation of images．Indeed that most powerful image form of the twentieth century—the TV image—is also about to be taken into the digital domain．Image processing is characterized by a large number of algorithms that are specific solutions to specific problems．Some are mathematical or context-independent operations that are applied to each and every pixel．For example，we can use Fourier transforms to perform image filtering operations．Others are“algorithmic”—we may use a complicated recursive strategy to find those pixels that constitute the edges in an image．Image processing operations often form part of a computer vision system．The input image may be filtered to highlight or reveal edges prior to a shape detection usually known as low-level operations．In computer graphics filtering operations are used extensively to avoid abasing or sampling artifacts．中文翻译图像处理不是一步就能完成的过程。