Viewer space

Properties of diagrammatic space versus viewer space... 

Illustration of diagrammatic and viewer space in ASL. The semi-circles represent signing space. Each letter represents the location in signing space associated with that particular landmark, where EN = entrance SO = secretary s office PO = president s office CR = conference room and EX = exit. The asterisk in the viewer space description indicates that the two offices and the conference room were associated with that location in signing space. 

The ultimate transformation to viewer space is obtained invariably when the user decides and selects to look at a particular desired orientation of the overall system. In fact, the user invariably mentions and defines this specific transformation while moving the viewed molecules with the help of the mouse . 

In colored cathode ray tubes (CRTs), such as those used in televisions and computer terminals, three electron gun beams are focused on three different sets of phosphor dots on the front face of the tube. The dots are produced by using a compHcated photoHthography process. The phosphor dots are produced by settling the three different phosphors, each of which emits one of the primary saturated colors, red, green, or blue. Each phosphor is deposited separately and the three dots in each set are closely spaced so that the three primary colors are not resolved at normal viewing distances. Instead the viewer has the impression that there is only one color, the color achieved when the three primary colors are added together. 

The LTI Viewer runs in its own workspace, which is separate from the MATLAB workspace. The Viewer also works with only LTI objects generated by functions such as tf () and zpk (), and after Chapter 4, state space objects, ss (). So let s generate a couple of objects in the MATLAB command window first ... 

Similar to the LTI Viewer, the root locus tool runs in its own functional space. We have to import the transfer functions under the File pull-down menu. 

The poster text is divided into the same general IMRD sections as the journal article Introduction, Methods, Results, and Discussion. Similarly, most posters include an Acknowledgments section, some have an abbreviated References section, and all have a title and author list. Most posters do not include an abstract, in part because of space limitations and in part because an abstract already appears in the conference proceedings. Like the journal article, the IMRD structure of the poster follows an hourglass shape. The top (Introduction) and bottom (Discussion) sections have a broader focus, while the middle sections (Methods and Results) have a narrower focus. Each section of the poster can be divided into individual moves or steps that guide viewers in a conventional way through the content of each section. These moves are analyzed in the next part of the chapter. 

Move 1 (Interpret or Explain Results) is often integrated into the poster Results section, thereby becoming a combined Results and Discussion (R D) section. An example of a combined R D section is shown in hgure 9.1. In such posters, interpretative remarks (Discussion) are included right along with the graphics (Results). In this way, space is conserved, and viewers can read and interpret the data simultaneously (usually easier than looking back and forth between the two sections). For instructional purposes, however, we have placed move 1 in the Discussion section, and we use a stand-alone Discussion section in the three hypothetical posters presented below. We follow this approach, in part, to maintain a clear distinction between results (just the facts) and discussion (interpretation of the facts). 

How then can you study the surface interactively The most common compromise is called a dotted surface (Plate 18), in which the program displays dots evenly spaced over the surface of the molecule. This image reveals the surface without obscuring the atoms within and can be redrawn rapidly as the viewer manipulates the model. Several types of surfaces can be computed, each with its own potential uses. One type is the van der Waals surface, in which all dots lie at the van der Waals radius from the nearest atom, the same as the surface of space-filling models. This represents the surface of contact between nonbonded atoms. Any model manipulations in which van der Waals... 

See the next section for a discussion of the principles of good composition. These principles include a strong center of interest, a predetermined direction for the movements of a viewer s eye, a balance of parts, and interesting use of positive and negative space. They provide some basic common denominators to visual expression. However, there are unlimited possibilities for a meaningful arrangement of these common denominators. The more unique the arrangement, the more powerful the work of art. 

A sculpture takes the viewer through space. The sculpture can be seen, touched, and even walked around. A two-dimensional painting can only cover a flat area. 

An excellent historical review and applications of this type of extruder were produced by White (53), and the flow was modeled by Janssen et al. (62) and Wyman (63), whose derivation we follow. The easiest way to visualize the conveying mechanism of a counterrotating intermeshing TSE is to place a robot viewer into the screw channel at point 0 in Fig. 6.37(d) and let it report its observations. We first stop the rotation of the screws and tell our viewer to explore the space around it. It will report that the space is entirely confined by steel walls the barrel surface from above, the flights of screw A at either side, and the intermeshing flight of screw B both up-channel and down-channel. The space is a helically distorted C-shaped channel that can be shown schematically, as in Fig. 6.46, or by molding silicone rubber into the space in Fig. 6.47. Clearly, by fully... 

What happens when the screws start to rotate The robot viewer will report that all the walls of the confined space began moving, but if it moves axially with velocity ... 

Each representation of a protein or nucleic acid conveys to the viewer different aspects of its structure line drawings give the bones, space-filling models the flesh, and schematic diagrams the gestalt of the design. No single representation of a protein or nucleic acid is adequate for all purposes, but the combination of several is more powerful than the total of all taken independently. 

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