The Application Research on Three-Dimensional GPR Image Used in Grouting Effect Evaluation of Subgrade Void

2014 ◽  
Vol 1065-1069 ◽  
pp. 725-732
Author(s):  
Yong Qing Yang

On the basis of the GPR method principle, data acquisition and processing, this paper mainly discusses two-dimensional GPR profiles and three-dimensional GPR images through GPR detection example about the voids of highway bridge head subgrade and the grouting distribution. Three-dimensional images accurately and directly evaluate the grouting effect. Thus it illustrates that GPR used to detect the voids of highway bridge head roadbed and the grouting distribution is an effective method.

2011 ◽  
Vol 65 ◽  
pp. 299-302 ◽  
Author(s):  
Shou Qiang Men ◽  
Christian Resagk

A simple calibration system for magnetic field sensors was designed, and experiments were carried out to calibrate two-dimensional fluxgate sensors and a sensor ring composed of eight fluxgate sensors. Fast Fourier Transforms and trapezoidal numerical integrals were applied to deal with the raw signals. It is found that it is not suitable to apply fast Fourier Transforms only to deal with signals with several peaks close to each other, but trapezoidal numerical integrals should also be used in combination with the FFT method.


1990 ◽  
Vol 26 (Supplement) ◽  
pp. 248-249
Author(s):  
Am CHO ◽  
Kageyu NORO ◽  
Shinya KOSHIE ◽  
Atsuko HONDO ◽  
Sakae YAMAMOTO

2002 ◽  
Author(s):  
Malgorzata Kujawinska ◽  
Robert Sitnik ◽  
Michal E. Pawlowski ◽  
Piotr Garbat ◽  
Marek G. Wegiel

Author(s):  
Nathalie Collé-Bak

The Pilgrim’s Progress (1678; 1684) has been illustrated in many different forms and media, from its early days on the book market up until today. For over the last three centuries, John Bunyan’s allegory has inspired illustrators in numerous and varied ways, the images born of the text having materialized on book pages as well as on individual sheets, but also on canvas, photographic film, glass panes, and walls. Two-dimensional creations have also led the way to three-dimensional images, exhibited or performed in a variety of places and for a whole range of publics. This chapter contends that these sundry ‘illustrations’, by professional as well as amateur artists, have secured the diffusion and the popularity of the text through its temporal and geographical journeys, and across cultural boundaries.


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