Academic literature on the topic 'Feng guang she ying'

Underwater acoustic signature identification has been employed as a technique for detecting underwater vehicles, such as in anti-submarine warfare or harbour security systems. The underwater sound channel, however, has interference due to spatial variations in topography or sea state conditions and temporal variations in water column properties, which cause multipath and scattering in acoustic propagation. Thus, acoustic data quality control can be very challenging. One of challenges for an identification system is how to recognise the same target signature from measurements under different temporal and spatial settings. This paper deals with the above challenges by establishing an identification system composed of feature extraction, classification algorithms, and feature selection with two approaches to recognise the target signature of underwater radiated noise from a research vessel, Ocean Researcher III, with a bottom mounted hydrophone in five cruises in 2016 and 2017. The fundamental frequency and its power spectral density are known as significant features for classification. In feature extraction, we extract the features before deciding which is more significant from the two aforementioned features. The first approach utilises Polynomial Regression (PR) classifiers and feature selection by Taguchi method and analysis of variance under a different combination of factors and levels. The second approach utilises Radial Basis Function Neural Network (RBFNN) selecting the optimised parameters of classifier via genetic algorithm. The real-time classifier of PR model is robust and superior to the RBFNN model in this paper. This suggests that the Automatic Identification System for Vehicles using Acoustic Signature developed here can be carried out by utilising harmonic frequency features extracted from unmasking the frequency bandwidth for ship noises and proves that feature extraction is appropriate for our targets. References Nathan D Merchant, Kurt M Fristrup, Mark P Johnson, Peter L Tyack, Matthew J Witt, Philippe Blondel, and Susan E Parks. Measuring acoustic habitats. Methods in Ecology and Evolution, 6(3):257265, 2015. doi:10.1111/2041-210X.12330. Nathan D Merchant, Philippe Blondel, D Tom Dakin, and John Dorocicz. Averaging underwater noise levels for environmental assessment of shipping. The Journal of the Acoustical Society of America, 132(4):EL343EL349, 2012. doi:10.1121/1.4754429. Chi-Fang Chen, Hsiang-Chih Chan, Ray-I Chang, Tswen-Yung Tang, Sen Jan, Chau-Chang Wang, Ruey-Chang Wei, Yiing-Jang Yang, Lien-Siang Chou, Tzay-Chyn Shin, et al. Data demonstrations on physical oceanography and underwater acoustics from the marine cable hosted observatory (macho). In OCEANS, 2012-Yeosu, pages 16. IEEE, 2012. doi:10.1109/OCEANS-Yeosu.2012.6263639. Sauda Sadaf P Yashaswini, Soumya Halagur, Fazil Khan, and Shanta Rangaswamy. A literature survey on ambient noise analysis for underwater acoustic signals. International Journal of Computer Engineering and Sciences, 1(7):19, 2015. doi:10.26472/ijces.v1i7.37. Shuguang Wang and Xiangyang Zeng. Robust underwater noise targets classification using auditory inspired time-frequency analysis. Applied Acoustics, 78:6876, 2014. doi:10.1016/j.apacoust.2013.11.003. LG Weiss and TL Dixon. Wavelet-based denoising of underwater acoustic signals. The Journal of the Acoustical Society of America, 101(1):377383, 1997. doi:10.1121/1.417983. Timothy Alexis Bodisco, Jason D'Netto, Neil Kelson, Jasmine Banks, Ross Hayward, and Tony Parker. Characterising an ecg signal using statistical modelling: a feasibility study. ANZIAM Journal, 55:3246, 2014. doi:10.21914/anziamj.v55i0.7818. José Ribeiro-Fonseca and Luís Correia. Identification of underwater acoustic noise. In OCEANS'94.'Oceans Engineering for Today's Technology and Tomorrow's Preservation.'Proceedings, volume 2, pages II/597II/602 vol. 2. IEEE. Linus YS Chiu and Hwei-Ruy Chen. Estimation and reduction of effects of sea surface reflection on underwater vertical channel. In Underwater Technology Symposium (UT), 2013 IEEE International, pages 18. IEEE, 2013. doi:10.1109/UT.2013.6519874. G.M. Wenz. Acoustic ambient noise in the ocean: spectra and sources. Thesis, 1962. doi:10.1121/1.1909155. Donald Ross. Mechanics of underwater noise. Elsevier, 2013. doi:10.1121/1.398685. Chris Drummond and Robert C Holte. Exploiting the cost (in) sensitivity of decision tree splitting criteria. In ICML, volume 1, 2000. Charles Elkan. The foundations of cost-sensitive learning. In International joint conference on artificial intelligence, volume 17, pages 973978. Lawrence Erlbaum Associates Ltd, 2001. Chris Gillard, Alexei Kouzoubov, Simon Lourey, Alice von Trojan, Binh Nguyen, Shane Wood, and Jimmy Wang. Automatic classification of active sonar echoes for improved target identification. Douglas C Montgomery. Design and analysis of experiments. John wiley and sons, 2017. doi:10.1002/9781118147634. G Taguchi. Off-line and on-line quality control systems. In Proceedings of International Conference on Quality Control, 1978. Sheng-Ju Wu, Sheau-Wen Shiah, and Wei-Lung Yu. Parametric analysis of proton exchange membrane fuel cell performance by using the taguchi method and a neural network. Renewable Energy, 34(1):135144, 2009. doi:10.1016/j.renene.2008.03.006. Genichi Taguchi. Introduction to quality engineering: designing quality into products and processes. Technical report, 1986. doi:10.1002/qre.4680040216. Richard Horvath, Gyula Matyasi, and Agota Dregelyi-Kiss. Optimization of machining parameters for fine turning operations based on the response surface method. ANZIAM Journal, 55:250265, 2014. doi:10.21914/anziamj.v55i0.7865. Chuan-Tien Li, Sheng-Ju Wu, and Wei-Lung Yu. Parameter design on the multi-objectives of pem fuel cell stack using an adaptive neuro-fuzzy inference system and genetic algorithms. International Journal of Hydrogen Energy, 39(9):45024515, 2014. doi:10.1016/j.ijhydene.2014.01.034. Antoine Guisan, Thomas C Edwards Jr, and Trevor Hastie. Generalized linear and generalized additive models in studies of species distributions: setting the scene. Ecological modelling, 157(2-3):89100, 2002. doi:10.1016/S0304-3800(02)00204-1. Sheng Chen, Colin FN Cowan, and Peter M Grant. Orthogonal least squares learning algorithm for radial basis function networks. IEEE Transactions on neural networks, 2(2):302309, 1991. doi:10.1109/72.80341. Howard Demuth and Mark Beale. Neural network toolbox for use with matlab-user's guide verion 4.0. 1993. Janice Gaffney, Charles Pearce, and David Green. Binary versus real coding for genetic algorithms: A false dichotomy? ANZIAM Journal, 51:347359, 2010. doi:10.21914/anziamj.v51i0.2776. Daniel May and Muttucumaru Sivakumar. Techniques for predicting total phosphorus in urban stormwater runoff at unmonitored catchments. ANZIAM Journal, 45:296309, 2004. doi:10.21914/anziamj.v45i0.889. Chang-Xue Jack Feng, Zhi-Guang Yu, and Andrew Kusiak. Selection and validation of predictive regression and neural network models based on designed experiments. IIE Transactions, 38(1):1323, 2006. doi:10.1080/07408170500346378. Yin-Ying Fang, Ping-Jung Sung, Kai-An Cheng, Meng Fan Tsai, and Chifang Chen. Underwater radiated noise measurement of ocean researcher 3. In The 29th Taiwan Society of Naval Architects and Marine Engineers Conference, 2017. Yin-Ying Fang, Chi-Fang Chen, and Sheng-Ju Wu. Analysis of vibration and underwater radiated noise of ocean researcher 3. In The 30th Taiwan Society of Naval Architects and Marine Engineers Conference, 2018. Det Norske Veritas. Rules for classification of ships new buildings special equipment and systems additional class part 6 chapter 24 silent class notation. Rules for Classification of ShipsNewbuildings, 2010. Underwater acousticsquantities and procedures for description and measurement of underwater sound from ships-part 1requirements for precision measurements in deep water used for comparison purposes. (ISO 17208-1:2012), 2012. Bureau Veritas. Underwater radiated noise, rule note nr 614 dt r00 e. Bureau Veritas, 2014. R.J. Urick. Principles of underwater sound, volume 3. McGraw-Hill New York, 1983. Lars Burgstahler and Martin Neubauer. New modifications of the exponential moving average algorithm for bandwidth estimation. In Proc. of the 15th ITC Specialist Seminar, 2002. Bishnu Prasad Lamichhane. Removing a mixture of gaussian and impulsive noise using the total variation functional and split bregman iterative method. ANZIAM Journal, 56:5267, 2015. doi:10.21914/anziamj.v56i0.9316. Chao-Ton Su. Quality engineering: off-line methods and applications. CRC press, 2016. Jiju Antony and Mike Kaye. Experimental quality: a strategic approach to achieve and improve quality. Springer Science and Business Media, 2012. Ozkan Kucuk, Tayeb Elfarah, Serkan Islak, and Cihan Ozorak. Optimization by using taguchi method of the production of magnesium-matrix carbide reinforced composites by powder metallurgy method. Metals, 7(9):352, 2017. doi:10.3390/met7090352. G Taguchi. System of experimental design, quality resources. New York, 108, 1987. Gavin C Cawley and Nicola LC Talbot. Efficient leave-one-out cross-validation of kernel fisher discriminant classifiers. Pattern Recognition, 36(11):25852592, 2003. doi:10.1016/S0031-3203(03)00136-5.

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 胡應麟在《詩藪》中一面講究音律韻度和體裁等的純粹形式的問題，一面把體格聲調譬喻為水與鏡，興象風神譬喻為月與花。所以我們容易認為他所謂的體格聲調的內含就是指形式的問題，興象風神是作家的情緒或者作品的內容。 本人認為格調説反映着儒家審美意識的。可是，皮表上看，胡應麟的主張似乎否定我的假説之妥當性，而且還可以把他從格調論者轉向興象風神論者。 經過上面的研究，本人得知胡應麟所謂體格不僅是指着某個詩體之理想的结構和聲音的形式（包括運意、句法、章法和平仄、押韻等等），還指着某個詩體之典型的、傳統的風格而講的。他所提起的體格，除了樂府體以外，都不是有情感激昂的氣骨之體。除了樂府體之「峻」和「嶮」兩種風格以外，其他假如不是興象之風格，就是風神之風格。從屬於格調的風格當中，「悲壯」和「平清」、「閒淡」、「流動」可以説是興象型風格。除了「悲壯」以外，「平清」、「閒淡」、「流動」等三種風格，又可以説是秀朗型之風神。 胡應麟所謂體格是某個文體或者某個詩體所固有的形式的特徵和風格上的特徵。興象則由作家柔和的氣質為中心而形成的審美範疇，風神則由作家的活潑豁達氣質（風）和自然指向的志向之結合而產生的審美範疇。所以興象和風神兩者反映作家的個體生命的特徵。不過，由〈體格—表〉我們可以知道在胡應麟所認識的七言古律和五七言排律的體格已經包含着「虛大型」風神美感。 如果有人表現出自己的興象、風神來寫某個體裁詩的話，與某個體裁本有的體格不會衝突，結果可以不脱離其格調。因為興象風神雖然出於個性的，不過和現實生活維持一定的美學距離，本來是屬於「雅」的東西，結果不叛傳統，不脱出體格。 Hu, Ying-Lin had paid much attention to formative elements of poems, for example, temperament, tone and the characters of any special type of poems in one hand; but in other hand, he used an interesting simile, that is: Ti-Ge (the traditional characters of any special type of poems) and Sheng-Lu (temperament) & Yun-Du (tone) are similar to water and mirror, Xing-Xiang (the Configuration of Inspiration), Feng-Shen (Windlike Spirit) is similar to the moon and a flower which is shown in water or a mirror. His simile is easy to cause us to recognize the meaning of the Ti-Ge and Sheng-Diao (temperament and tone) as limited to simple formative factors and Xing-Xiang, Feng-Shen as the reflecion of the writer's emotion, spirit, and inspiration, etc.. I have had a hypothesis the poetics of sonorous style (Ge-Diao) said by former and later seven masters in Ming Dynasty implies the aesthetic sense which has come from Confucius thought, and concerns about favorite style of poems. But, Hu, Ying-Lin's simile looks like to deny my hypothesis to be true. It may go so far as to change him from a man of sonorous style to a man of Xing-Xiang (the Con-figuration of Inspiration), Feng-Shen (Windlike Spirit). Through this study, I have known that Ti-Ge (the traditional characters of any special type of poems) said by Hu, Ying-Lin does not only mean some formative elements of any special type of poems (implies how to arrange meanings, how to make a structure of a sentence and a clause, how to use sounds and rhymes etc.), but also mean ideal and traditional style of any special type of poems. All of the Ti-Ge (the traditional characters of any special type of poems) which he had mentioned if does not belong to the style of Xing-Xiang （the Configuration of Inspiration）, then belongs to the style of Feng-Shen （Windlike Spirit）, except only one type of poems. The only one type of poems of exceptions is the poems from music （Yue-Fu Ti 樂府體）, it asks the poet for any strong motived emotions, and implies srong energy and will. So the ideal and traditional style of the poems from music is 'loft and severe（峻）' or 'perilous and harsh （嶮）'. Among the styles of Ge-Diao, 'tragic and stirring （Bei-Zhuang 悲壯）', 'flat and clear （Ping-Qing 平清）', 'free and light（Xian-Dan 閒淡）', 'floating （Liu-Dong 流動）'can be belong to the style of Xing-Xiang （the Configuration of Inspiration）, also. Except 'tragic and stirring （Bei-Zhuang 悲壯）', 'flat and clear （Ping-Qing 平清）', 'free and light （Xian-Dan 閒淡）', 'floating （Liu-Dong 流動）'can be belong to the style of 'elegant and bright （Xiu-Lang 秀朗）' which is one style of Feng-Shen （Windlike Spirit）. The Ti-Ge （the traditional characters of any special type of poems） said by Hu, Ying-Lin means inherent formative and stylistic characters in a special type of poems. Xing-Xiang （the Configuration of Inspiration） is the aesthetic category which comes from mild and tender characters of writer. Feng-Shen （Windlike Spirit） is the aesthetic category which comes from liberal and spacious characters and the aspirations tended for the nature of writer. So We can say that Xing-Xiang （the Configuration of Inspiration） and Feng-Shen （Windlike Spirit） reflect special character of a writer as a individual human being. Through the table-Ti-Ge （the traditional characters of any special type of poems）, we can see Ti-Ge （the traditional characters） of ancient type of seven character poems （七言古詩）and recent type of seven character & eight line poems （七言律詩）and doubled recent type of five & seven charater and eight line poems （五七言排律）already implies 'empty and spacious 'Feng-Shen (Windlike Spirit) aesthetic feeling. If a writer express his or her Xing-Xiang (the Configuration of Inspiration) and Feng-Shen (Windlike Spirit), he or she can not find any conflicts with Ti-Ge (the traditional characters of any special type.) Because Xing-Xiang (the Configuration of Inspiration) and Feng-Shen (Windlike Spirit) although come from one's individuality, but they keep some aesthetic distance from one's real life and have elegant and graceful characters, which does not make any conflicts with traditional aesthetic feelings.

LANGUAGE NOTE | Document text in Chinese; abstract also in English. "胡應麟在《詩藪》中一面講究音律韻度和體裁等的純粹形式的問題，一面把體格聲調譬喻為水與鏡，興象風神譬喻為月與花。所以我們容易認為他所謂的體格聲調的內含就是指形式的問題，興象風神是作家的情緒或者作品的內容。 本人認為格調説反映着儒家審美意識的。可是，皮表上看，胡應麟的主張似乎否定我的假説之妥當性，而且還可以把他從格調論者轉向興象風神論者。 經過上面的研究，本人得知胡應麟所謂體格不僅是指着某個詩體之理想的结構和聲音的形式（包括運意、句法、章法和平仄、押韻等等），還指着某個詩體之典型的、傳統的風格而講的。他所提起的體格，除了樂府體以外，都不是有情感激昂的氣骨之體。除了樂府體之「峻」和「嶮」兩種風格以外，其他假如不是興象之風格，就是風神之風格。從屬於格調的風格當中，「悲壯」和「平清」、「閒淡」、「流動」可以説是興象型風格。除了「悲壯」以外，「平清」、「閒淡」、「流動」等三種風格，又可以説是秀朗型之風神。 胡應麟所謂體格是某個文體或者某個詩體所固有的形式的特徵和風格上的特徵。興象則由作家柔和的氣質為中心而形成的審美範疇，風神則由作家的活潑豁達氣質（風）和自然指向的志向之結合而產生的審美範疇。所以興象和風神兩者反映作家的個體生命的特徵。不過，由〈體格—表〉我們可以知道在胡應麟所認識的七言古律和五七言排律的體格已經包含着「虛大型」風神美感。 如果有人表現出自己的興象、風神來寫某個體裁詩的話，與某個體裁本有的體格不會衝突，結果可以不脱離其格調。因為興象風神雖然出於個性的，不過和現實生活維持一定的美學距離，本來是屬於「雅」的東西，結果不叛傳統，不脱出體格。 Hu, Ying-Lin had paid much attention to formative elements of poems, for example, temperament, tone and the characters of any special type of poems in one hand; but in other hand, he used an interesting simile, that is: Ti-Ge (the traditional characters of any special type of poems) and Sheng-Lu (temperament) & Yun-Du (tone) are similar to water and mirror, Xing-Xiang (the Configuration of Inspiration), Feng-Shen (Windlike Spirit) is similar to the moon and a flower which is shown in water or a mirror. His simile is easy to cause us to recognize the meaning of the Ti-Ge and Sheng-Diao (temperament and tone) as limited to simple formative factors and Xing-Xiang, Feng-Shen as the reflecion of the writer's emotion, spirit, and inspiration, etc. I have had a hypothesis the poetics of sonorous style (Ge-Diao) said by former and later seven masters in Ming Dynasty implies the aesthetic sense which has come from Confucius thought, and concerns about favorite style of poems. But, Hu, Ying-Lin's simile looks like to deny my hypothesis to be true. It may go so far as to change him from a man of sonorous style to a man of Xing-Xiang (the Con-figuration of Inspiration), Feng-Shen (Windlike Spirit). Through this study, I have known that Ti-Ge (the traditional characters of any special type of poems) said by Hu, Ying-Lin does not only mean some formative elements of any special type of poems (implies how to arrange meanings, how to make a structure of a sentence and a clause, how to use sounds and rhymes etc.), but also mean ideal and traditional style of any special type of poems. All of the Ti-Ge (the traditional characters of any special type of poems) which he had mentioned if does not belong to the style of Xing-Xiang （the Configuration of Inspiration）, then belongs to the style of Feng-Shen （Windlike Spirit）, except only one type of poems. The only one type of poems of exceptions is the poems from music （Yue-Fu Ti 樂府體）, it asks the poet for any strong motived emotions, and implies srong energy and will. So the ideal and traditional style of the poems from music is 'loft and severe（峻）' or 'perilous and harsh （嶮）'. Among the styles of Ge-Diao, 'tragic and stirring （Bei-Zhuang 悲壯）', 'flat and clear （Ping-Qing 平清）', 'free and light（Xian-Dan 閒淡）', 'floating （Liu-Dong 流動）'can be belong to the style of Xing-Xiang （the Configuration of Inspiration）, also. Except 'tragic and stirring （Bei-Zhuang 悲壯）', 'flat and clear （Ping-Qing 平清）', 'free and light （Xian-Dan 閒淡）', 'floating （Liu-Dong 流動）'can be belong to the style of 'elegant and bright （Xiu-Lang 秀朗）' which is one style of Feng-Shen （Windlike Spirit）. The Ti-Ge （the traditional characters of any special type of poems） said by Hu, Ying-Lin means inherent formative and stylistic characters in a special type of poems. Xing-Xiang （the Configuration of Inspiration） is the aesthetic category which comes from mild and tender characters of writer. Feng-Shen （Windlike Spirit） is the aesthetic category which comes from liberal and spacious characters and the aspirations tended for the nature of writer. So We can say that Xing-Xiang （the Configuration of Inspiration） and Feng-Shen （Windlike Spirit） reflect special character of a writer as a individual human being. Through the table-Ti-Ge （the traditional characters of any special type of poems）, we can see Ti-Ge （the traditional characters） of ancient type of seven character poems （七言古詩）and recent type of seven character & eight line poems （七言律詩）and doubled recent type of five & seven charater and eight line poems （五七言排律）already implies 'empty and spacious 'Feng-Shen (Windlike Spirit) aesthetic feeling. If a writer express his or her Xing-Xiang (the Configuration of Inspiration) and Feng-Shen (Windlike Spirit), he or she can not find any conflicts with Ti-Ge (the traditional characters of any special type.) Because Xing-Xiang (the Configuration of Inspiration) and Feng-Shen (Windlike Spirit) although come from one's individuality, but they keep some aesthetic distance from one's real life and have elegant and graceful characters, which does not make any conflicts with traditional aesthetic feelings."