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In this note we consider the theory of sampling Kantorovich operators, and we show how it is possible to deduce an algorithm for Digital Image Processing starting from the general theory. (© 2015 Wiley-VCH Verlag GmbH & Co. KGaA, Weinheim) 相似文献
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Raphael E. F. de Paiva Camilla Abbehausen Fernando R. G. Bergamini Andre L. Thompson Danilo A. Alves Marcelo Lancellotti Pedro P. Corbi 《Journal of inclusion phenomena and macrocyclic chemistry》2014,79(1-2):225-235
The present work describes the preparation and characterization of inclusion systems involving β-CD and the silver(I) nimesulide coordination complex (Ag-NMS), prepared by kneading (K) and co-evaporation (CE) methods. Solid state characterization by DSC, XRD and IR vibrational spectroscopic measurements provided remarkable evidences of the formation of true inclusion systems. Solution measurements provided information about the inclusion mode. The UV–Vis spectroscopy was used to obtain the association constants by the Scatchard method, and the value obtained was 370 ± 2 L mol?1. The 1H NMR spectroscopic measurements indicate a total inclusion of the guest into the cavity. A 2D NOESY experiment was carried out for the inclusion complex. The spectrum shows that hydrogens 3–6 of the cyclodextrin clearly correlate with the protons of the phenoxy ring of nimesulide in the Ag-NMS coordination compound, which confirms the formation of the inclusion complex. The antibacterial activities of the Ag-NMS and CE-[(Ag-NMS)·β-CD] inclusion system were evaluated by the well diffusion method over Escherichia coli and Pseudomonas aeruginosa (Gram-negative) and Staphylococcus aureus (Gram-positive) pathogenic bacterial strains. The observed data shows the significant antibacterial activity of the Ag-NMS coordination complex, and no activity for the inclusion complex under the same considered conditions. 相似文献
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Danilo Šuster 《Acta Analytica》2005,20(4):41-52
Davies argues that the ontology of artworks as performances offers a principled way of explaining work-relativity of modality. Object oriented contextualist ontologies of art (Levinson) cannot adequately
address the problem of work-relativity of modal properties because they understand looseness in what counts as the same context
as a view that slight differences in the work-constitutive features of provenance are work-relative. I argue that it is more
in the spirit of contextualism to understand looseness as context-dependent. This points to the general problem—the context
of appreciation is not robust enough to ground modal intuitions about objective entities. In general, when epistemology dictates
ontology there is always a threat of anti-realism, scepticism and relativism. Davies also appeals to the modality principle—an
entity’s essential properties are all and only its constitutive properties. Davies understands essentiality in a traditional
way: a property P is an essential property of an object o iff o could not exist and lack P. Kit Fine has recently made a convincing case for the view that the notion of essence is not to
be understood in modal terms. I explore some of the implications of this view for Davies’ modal argument for the performance
theory. 相似文献
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