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931.
932.
Dhanraj Vishwanath 《Axiomathes》2005,15(3):399-486
Computational theories of vision typically rely on the analysis of two aspects of human visual function: (1) object and shape recognition (2) co-calibration of sensory measurements. Both these approaches are usually based on an inverse-optics model, where visual perception is viewed as a process of inference from a 2D retinal projection to a 3D percept within a Euclidean space schema. This paradigm has had great success in certain areas of vision science, but has been relatively less successful in understanding perceptual representation, namely, the nature of the perceptual encoding. One of the drawbacks of inverse-optics approaches has been the difficulty in defining the constraints needed to make the inference computationally tractable (e.g. regularity assumptions, Bayesian priors, etc.). These constraints, thought to be learned assumptions about the nature of the physical and optical structures of the external world, have to be incorporated into any workable computational model in the inverse-optics paradigm. But inference models that employ an inverse optics plus structural assumptions approach inevitably result in a naïve realist theory of perceptual representation. Another drawback of inference models for theories of perceptual representation is their inability to explain central features of the visual experience. The one most evident in the process and visual understanding of design is the fact that some visual configurations appear, often spontaneously, as perceptually more coherent than others. The epistemological consequences of inferential approaches to vision indicate that they fail to capture enduring aspects of our visual experience. Therefore they may not be suited to a theory of perceptual representation, or useful for an understanding of the role of perception in the design process and product. 相似文献
933.
We present an investigation into the relation between design principles in Japanese gardens, and their associated perceptual effects. This leads to the realization that a set of design principles described in a Japanese gardening text by Shingen (1466), shows many parallels to the visual effects of perceptual grouping, studied by the Gestalt school of psychology. Guidelines for composition of rock clusters closely relate to perception of visual figure. Garden design elements are arranged into patterns that simplify figure-ground segmentation, while seemingly balancing the visual salience of subparts and the global arrangement. Visual ‘ground’ is analyzed via medial axis transformation (MAT), often associated with shape perception in humans. MAT analysis reveals implicit structure in the visual ground of a quintessential rock garden design. The MAT structure enables formal comparison of structure of figure and ground. They share some aesthetic qualities, with interesting differences. Both contain naturalistic asymmetric, self-similar, branching structures. While the branching pattern of the ground converges towards the viewer, that of the figure converges in the opposite direction. 相似文献
934.
采用整体检测的变化察觉范式,探讨客体的相似性对客体—空间型认知方式个体视觉工作记忆表征的影响。行为结果显示,在不相似客体的视觉工作记忆表征任务中,客体型者在长延时条件的成绩优于空间型者,而在相似客体的视觉工作记忆表征任务中,两者无差异;ERP结果显示,在不相似客体视觉工作记忆表征任务中,与客体型者相比,空间型者在大脑皮层诱发出更大的负SP。以上结果表明,客体型者比空间型者对不相似客体视觉工作记忆加工具有优势,其潜在机制可能在于,客体型者对不相似客体视觉工作记忆表征时的神经活动效能更高。 相似文献
935.
936.
与Brenmer等(1997)的实验对照,对4~7岁的儿童考察观察角度的变化方式、模型状态、年龄等与其绘画简单深度关系中视觉写实水平的关系。实验结果表明:年龄是影响儿童绘画简单深度关系中视觉写实水平的重要因素;观察角度变化的两种方式在6~7岁组有显著差异;模型状态对不同性别儿童的绘画成绩影响显著。 相似文献
937.
实验采用RSVP任务,考察了汉字加工中呈现速率对重复知盲效应的影响,结果发现:(1)在加工汉字重复刺激时,存在着重复知肓(RB)效应,其强度随着呈现速率的变化而改变,当呈现速率较快时,正确率较低,呈现速率较慢时,正确率较高;(2)与加工英文信息比较,在汉字加工中,RB效应的出现似乎推迟了一段时间,这可能从另一方面反映出加工汉字比英文需要不同的加工时间.即加工信息的难易程度也影响RB效应出现的时间。 相似文献
938.
939.
940.
Thomas Rockwell 《Zygon》2002,37(3):605-622
The first part of this paper surveys the visual technologies that have transformed the modern visual environment and argues for the relevance of their study to an understanding of modernity in general and to the field of religion and science in particular. The term cosmography is adopted for the visual and spatial manifestation of a worldview, and the importance of analyzing and advancing modern cosmography is asserted. In the second part, the focus shifts to one particular challenge presented by modern cosmography: how to represent and find visual meaning in the new range of size scales that have been offered up by the modern scientific worldview. Six strategies for representing and finding meaning in this new expanded picture of the universe are explored. 相似文献