基于STM32的语音播报系统的设计

本文介绍了一种以STM32为核心的语音播报系统设计和实现。下位机选用的是ST公司基于CortexM3内核的32位处理器STM32F103C8T6为核心,通过XFS5051语音合成芯片硬件单元实现语音的播报。上位机采用VB语言编写的操作界面,通过串口和下位机实现数据通信。经过实验验证,本文设计的语音播报系统具有准确率高、易操作、稳定性好等优点。     

光斑对激光点位精度的影响的探讨

三维激光扫描中受激光光斑的影响较大,所以需要分析光斑对激光点位精度造成的影响。本文给出了光斑中点位的误差分布特点,将光斑对光斑的影响投影到不同坐标轴上,从而得到光斑引起的不同方向的中误差,根据不同方向的中误差便可确定基于光斑影响的点位中误差,从而实现光斑对激光点位误差影响的分析。     

Orbal氧化沟污泥浓度控制

结合承德太平庄污水处理厂的工程实际,研究了orbal氧化沟运行中污泥浓度如何控制。活性污泥法处理污水是一个复杂的过程,污泥浓度的控制要综合考虑有机物有稳定的去除率、脱氮除磷效果、低温运行时污泥活性、能耗以及整个系统的抗冲击负荷能力等各因素。最终确定太平庄污水处理厂污泥浓度,夏季保持在4000mg/L左右,冬季4500mg／L左右。     

1999-2008年G20国家自然资本利用的空间格局变化

各国自然资本利用的时空分异评价是近期可持续发展领域的研究热点。本文采用改进的三维生态足迹模型,对1999-2008年20国集团(G20)自然资本利用的空间格局变化进行了分析。结果表明:G20国家的自然资本利用格局具有显著的空间分异性,呈现流量自然资本占用西高东低、存量自然资本消耗北高南低的格局。根据1999-2008年自然资本利用的变化趋势,可将G20国家分为4类:流量和存量自然资本利用增强型(FI-SI型,2国)、流量和存量自然资本利用减弱型(FD-SD型,2国)、流量自然资本利用增强而存量自然资本利用减弱型(FI-SD型,4国)、流量自然资本利用减弱而存量自然资本利用增强型(FD-SI型,11国)。总体上,流量自然资本占用减弱、存量自然资本消耗增强已成为各国自然资本利用的主要变化趋势,可持续性趋于劣化,代内和代际不公平程度加剧。     

“3＋1”人才培养模式企业教学基地建设研究与实践

“3＋1”人才培养模式改革是实现应用技术大学转型的有效模式,“1”是“3＋1”应用技术大学人才培养模式中的重点、难点、关键点,科学地设计校外教学环节,建设合格校外实习基地是保证“1”的校外教学顺利完成的关键,要保证校外教学实施与改革顺利完成,还必须有一套完善的组织管理机构和规章制度。     

基于ActionScript3进行视觉编程探讨

利用ActionScript3脚本语言生成和控制各种图形、动画、视频等是Flash技术的一个重要应用。本论文从ActionScript3视觉显示架构和面向对象设计思想两个角度,阐述了利用 ActionScript3脚本语言进行Flash编程创作的技术。     

基于CDIO理念与“3＋1”教学模式下的生产实习改革与实践

本文主要阐述了机械工程及自动化专业“3＋1”模式在生产实习的应用,并结合CDIO理念,提出了多样化的生产实习新思路,以培养卓越工程师为宗旨,以工程技术为主线,推进生产实习教学改革,“全程设计,平台支撑”,构建适合机械工程人才培养新模式。     

Al2O3中空纤维陶瓷膜上TS-1膜的制备

采用相转化纺丝／烧结技术制备Al2O3多孔中空纤维膜,并以此为载体,通过晶种法考察不同晶种诱导条件制备TS-1复合中空纤维膜,并采用扫描电子显微镜、气体渗透性能测试装置等设备对所制备的TS-1复合中空纤维膜进行微观结构及渗透性能的表征。结果表明,晶种法制备的TS-1复合中空纤维膜的N2渗透速率较小,并且表面平整无缺陷,因此该方法适合制备性能优良的TS-1复合中空纤维膜。     

Methods and tools for the classification and cataloging of antique moulds from the collection of the Richard-Ginori factory

This study proposes a procedure for digitally classifying and cataloging moulds which belong to the historic collection of the Ginori porcelain factory in Doccia (Sesto Fiorentino, Italy). In addition to a vast number of antique plaster moulds, this collection includes artistic porcelain artifacts obtained from casting porcelain using the moulds and models made of various materials. The proposed methodology includes two workflows: the first starts with photographic and casting processes conducted recently on various groups of moulds and involves historical surveys for investigating the relationships between the various sets of moulds, the models from which they were derived and the porcelain objects derived from them. The second workflow was applied when no information was available for a set of moulds, and involved 3D scanning of the moulds, with virtual reconstruction of the corresponding model followed by a final art historical survey like that used in the first procedure. 3D scanning techniques and successive model reconstruction can also be applied for obtaining a virtual model in the first process, when the physical model was lost, damaged or never existed. The variety and extent of the Ginori collection suggested the use of a customized Data-Base (DB) and a set of functions designed to manage and extract information, data and archived images. This filing system, called DocciaDigitalArchive (DDA), also makes it possible to specify the relationships between the different typology samples (prototype models, moulds derived from them, handmade porcelain objects produced from these moulds), which are associated when the same subject is portrayed. The DB structure conceived also provides the possibility of incorporating pictures and data of known archetypes. This additional information makes it possible to place each subject in its historical and artistic context. For each sample filed in the DDA system, documentary cards, which summarize data, images, reports and links to other entities or samples connected to the subject consulted, can be viewed on a suitable interface.     

Using 3D digital models for the virtual restoration of polychrome in interesting cultural sites

In most cases, the polychrome paintings that decorated heritage buildings no longer exist or are reduced to mere remnants. These facts decontextualize the sites in their historical and artistic evolution, distort the intention under which they were conceived, and hamper their accomplishment. Current recovery methods are restricted to the stabilization of the remains in their present status, requiring a lot of completely manual work that is expensive and almost unrelated to the use of new technologies. Three-dimensional digitalization and modelling is proved to be the basis for the virtual recovery of paintings in a significant edifice. To do so, an innovative methodology is presented that allows the 3D geometric information of a site (captured using a laser scanner) to be combined with specially designed 2D artistic images. The resulting 3D digital models can then be focused, with high efficiency projectors, on the equivalent area of the original site, and also used as raw material to compose a video-projection without perspective effects to emulate, with due rigour, the primitive appearance, its evolution along time, the effects of the deterioration, or other interesting aspects. The results obtained at Sta. María de Mave (Palencia, Spain) are presented, supporting the potential of this new methodology not only as a scientific way to discuss possible restoration hypotheses with experts or as a didactic tool for narrating the historical evolution of a monument, but also as a spectacular show for tourists.