scholarly journals ClC-1 chloride channels: state-of-the-art research and future challenges

Author(s):  
Paola Imbrici ◽  
Concetta Altamura ◽  
Mauro Pessia ◽  
Renato Mantegazza ◽  
Jean-François Desaphy ◽  
...  
2016 ◽  
Vol 17 (3) ◽  
pp. 185-199 ◽  
Author(s):  
Chun-meng Kang ◽  
Lu Wang ◽  
Yan-ning Xu ◽  
Xiang-xu Meng

Water ◽  
2019 ◽  
Vol 11 (4) ◽  
pp. 694 ◽  
Author(s):  
Ellora Padhi ◽  
Subhasish Dey ◽  
Venkappayya R. Desai ◽  
Nadia Penna ◽  
Roberto Gaudio

In a natural gravel-bed stream, the bed that has an organized roughness structure created by the streamflow is called the water-worked gravel bed (WGB). Such a bed is entirely different from that created in a laboratory by depositing and spreading gravels in the experimental flume, called the screeded gravel bed (SGB). In this paper, a review on the state-of-the-art research on WGBs is presented, highlighting the role of water-work in determining the bed topographical structures and the turbulence characteristics in the flow. In doing so, various methods used to analyze the bed topographical structures are described. Besides, the effects of the water-work on the turbulent flow characteristics, such as streamwise velocity, Reynolds and form-induced stresses, conditional turbulent events and secondary currents in WGBs are discussed. Further, the results form WGBs and SGBs are compared critically. The comparative study infers that a WGB exhibits a higher roughness than an SGB. Consequently, the former has a higher magnitude of turbulence parameters than the latter. Finally, as a future scope of research, laboratory experiments should be conducted in WGBs rather than in SGBs to have an appropriate representation of the flow field close to a natural stream.


Author(s):  
Yunfei Fu ◽  
Hongchuan Yu ◽  
Chih-Kuo Yeh ◽  
Tong-Yee Lee ◽  
Jian J. Zhang

Brushstrokes are viewed as the artist’s “handwriting” in a painting. In many applications such as style learning and transfer, mimicking painting, and painting authentication, it is highly desired to quantitatively and accurately identify brushstroke characteristics from old masters’ pieces using computer programs. However, due to the nature of hundreds or thousands of intermingling brushstrokes in the painting, it still remains challenging. This article proposes an efficient algorithm for brush Stroke extraction based on a Deep neural network, i.e., DStroke. Compared to the state-of-the-art research, the main merit of the proposed DStroke is to automatically and rapidly extract brushstrokes from a painting without manual annotation, while accurately approximating the real brushstrokes with high reliability. Herein, recovering the faithful soft transitions between brushstrokes is often ignored by the other methods. In fact, the details of brushstrokes in a master piece of painting (e.g., shapes, colors, texture, overlaps) are highly desired by artists since they hold promise to enhance and extend the artists’ powers, just like microscopes extend biologists’ powers. To demonstrate the high efficiency of the proposed DStroke, we perform it on a set of real scans of paintings and a set of synthetic paintings, respectively. Experiments show that the proposed DStroke is noticeably faster and more accurate at identifying and extracting brushstrokes, outperforming the other methods.


Author(s):  
Nasir Saeed ◽  
Heba Almorad ◽  
Hayssam Dahrouj ◽  
Tareq Y. Al-Naffouri ◽  
Jeff S. Shamma ◽  
...  

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