Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of im...Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and unambiguous.But sometimes Vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).Vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this essay.This essay is composed of two parts:an introduction to the location of the painting in the Casa Vasari in Arezzo and an iconographical and iconological interpretation of the imagery.展开更多
在水声通信中,扩频通信具有可靠性高、抗多径能力强等特点,适合于远程或低信噪比情况下的通信;但另一方面,由于其带宽利用率低加之水声信道带宽有限,通信系统的数据率将受到很大的限制。为了提高数据率,提出了一种正交M-ary/DS扩频方法...在水声通信中,扩频通信具有可靠性高、抗多径能力强等特点,适合于远程或低信噪比情况下的通信;但另一方面,由于其带宽利用率低加之水声信道带宽有限,通信系统的数据率将受到很大的限制。为了提高数据率,提出了一种正交M-ary/DS扩频方法,该方法将正交直接序列(DS)扩频与并行M-ary扩频结合在一起,能够显著提高水声通信系统的数据率与带宽利用率。经过湖上实验验证,该方法在25 km距离约0 dB的接收信噪比下,采用63、127长度G o ld序列并通过RAKE接收,分别实现了对480个符号的无误码传输,数据率为381.0 b its/s与220.5 b its/s,其带宽利用率与使用相同序列的直接序列扩频相比提高了约一个数量级。展开更多
文摘Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and unambiguous.But sometimes Vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).Vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this essay.This essay is composed of two parts:an introduction to the location of the painting in the Casa Vasari in Arezzo and an iconographical and iconological interpretation of the imagery.
文摘在水声通信中,扩频通信具有可靠性高、抗多径能力强等特点,适合于远程或低信噪比情况下的通信;但另一方面,由于其带宽利用率低加之水声信道带宽有限,通信系统的数据率将受到很大的限制。为了提高数据率,提出了一种正交M-ary/DS扩频方法,该方法将正交直接序列(DS)扩频与并行M-ary扩频结合在一起,能够显著提高水声通信系统的数据率与带宽利用率。经过湖上实验验证,该方法在25 km距离约0 dB的接收信噪比下,采用63、127长度G o ld序列并通过RAKE接收,分别实现了对480个符号的无误码传输,数据率为381.0 b its/s与220.5 b its/s,其带宽利用率与使用相同序列的直接序列扩频相比提高了约一个数量级。
