數字波的節點探討
數字波是探討在直線上的起始點、位移速度、總數相互變化的節點關係。在直線上，將全部格子數做為總數(m)，開始彈跳的點為起始點(i)，每次彈跳的格子數為位移速度(s)，被踩到的格子就是節點。節點是由位移速度和起始點決定，起始點本身可視為節點之一，之後的節點是由起始點加n 個位移速度產生。我們分別以三種型式討論：起始點等於位移速度，總數增加：使起始點和位移速度所代表的數字相同的彈跳。節點呈2、s、s+2…起始點固定，位移速度與總數增加：觀察位移速度和總數的關係。兩節點的和=s+2位移速度固定，起始點與總數增加：探討起始點和總數的關係。發現節點隨起始點有規律的變化在上述討論的型式中，我們再進一步將位移速度分為質數和合數，進而依其因數變化，可觀測到很多特殊的節點變化。The number wave is to discuss the relationship of the starting point, the moving speed, and the variations of total amount. In straight lines, let all the trellises be total amount (m), and let the starting jumping point be the starting point (i). The trellis number of each jump is the moving speed(s). The trodden trellises are knots. And knots are decided by the moving speed and the starting point. The starting point itself can be viewed as a knot. The following knots produce with the starting point and n moving speeds. We respectively discuss them in three types: When the starting point equals the moving speed, the total amount increases. The number of the starting point is the same with the jumping moving point; the knots are 2, s, s+2…. When the starting point is fixed, the moving speed and the total number increase. From observing the relationship between the moving speed and the total number, the sum of two knots is s+2. When the moving speed is fixed, the starting point and the total number increase. After our research into the relationship between the starting point and the total amount, we find the knots have regular variations with the starting point. From the types discussed above, we further divide the moving speed into prime numbers and non-prime numbers. Furthermore, according to the factor variations, we can see a lot of specific knot variations.
雪山姑 翡翠嫂 順姑情 逆嫂意? 雪山隧道之地質環評與工程建設的恩怨情仇
實驗初期以膠體水晶模擬岩層，模擬雪山隧道水平傾斜約 1°，製作壓克力模型(實驗一)，證明是否如賈儀平教授所言《雪山隧道＝水脈改道》註3，同時此模型也證明隧道防水襯墊完工後，和隧道開挖時水力梯度的明顯變化。再加上訪問坪林到宜蘭圓通寺一帶居民結論是：1. 雪山隧道對翡翠水庫的影響不大，但對宜蘭方面影響很大2. 模型的數據證明『隧道剛開挖因為出水嚴重出現明顯梯度外，其餘二組都不再有特定梯度，即使隧道處也沒有明顯變化』。證明隧道的水平角度對水也沒有太大導引作用。因為隧道的比例對一座山而言相當小，不會有太大的影響。3. 證明隧道防水襯墊完工後，和施工前(隧道未開挖)是同一狀況。釐清對翡翠水庫影響不大後，重心改為宜蘭。此時我們綜合中興工程資料及地調所資料理出“交錯正斷層的破碎岩體”應是大漏水的原凶！1. 於是用實驗一模型加入“破碎岩體” (實驗二)證明破碎岩體水力梯度的明顯變化。2. 再加上訪問頭城附近社區，了解居民因應大漏水後改變取水層的應變措施。3. 於是再設計模型(實驗三)證明不同不透水層的相互關係。實驗末期再度訪問頭城附近社區，赫然發現水稻已開始種植(去年還荒蕪，居民抱怨連連)看到綠意盎然的稻田和笑逐顏開的居民，我們的照片和實驗數據願為雪山隧道工程做個平反！The experiment began by using gel-crystal model to simulate rock strata and the acrylic model to simulate the dip angle of 1° of the Syue Mountain Tunnel. The experiment aimed to prove if the building of the Syue Mountain tunnel will change the water tunnel as Professor Yi-Ping Jia has indicated. The model also shows the obvious change brought by the membrane lining layed on the Tunnel and the dip angle of the water power gradient when the Tunnel was built. The conclusion of our interiew with residents in the Ping-lin and Yuan-Tong Temple in I-lan is as following: 1. The building of the Syue Mountain Tunnel has more impact on the I-lan than Fei-Tsui Reservoir. 2. The statistics of the model proved that Syue Mountain only showed gradient in the beginning when it was built. The Tunnel itself did not show any obious change. The dip angle of Syue Mountain Tunnel did not draw water due to it is small in size compared to the Syue Mountain. 3. The Syue Mountain Tunnel remained unchanged after the membrane lining was layed. After we can clarify that the Syue Mountain Tunnel has less impact on the Fei-Tsui Reservoir, we turned our attention to I-lan. We combined the information provided by Zhong-Xing Construction and the Central Geological Survey, and found that the cross-normal fault if the cause of the leakage. 1. The second experiement was conducted by adding fractured stones to the previous model and proved these stones will cause the obvious change to the water power gradient. 2. We have conducted another to the communities around Tou-cheng and realized that residents have changed the water supply strata in response to the leakage. 3. Finally, we built another model in 3rd experiment to prove the relationship of 3 water proof stratas. At the end of our experiment, we returned to Tou-Cheng and found that residents have started to grow rice and started to have simle on their face. Our experiment and statistics can do Syue Mountain Tunnel justice.
光基因新角色-cop8
COP8 is the second unit of COP9 signalsome. In the comparison of BLAST ,we found that\r LLPC14 cDNA and the protein sequence are quit similar to the COP8 of Arabidopsis thaliana\r Therefore, we are interested in the role that COP8 plays in the photomorphogenesis and try to find\r the length of the sequence. So far, no result is obtained about the 3’-RACE, but we’re surprised to\r find that the sequence found in 5’-RACE is shorter than what we’re know, which suggests the RNA\r length of the cDNA used in the RACE combination has decreased.\r Although the final results of the COP8 5’and 3’-RACE haven’t been achieved, it is sure the\r COP8 is highly-conserved in many species. Since the similarity between LLPC14 and the COP8 of\r Arabidopsis thaliana is as high as 90 percent, we used the COP8 of Arabidopsis thaliana to detect the\r COP8 protein in pollen.在過去種綠豆芽的經驗中，不難發現它本身因為環境的不同，而有不同型態白化\r 的現象，例如：黑暗下萌發的豆苗。但尚未深入去理解白化的原因；而在後來的種植\r 經驗上，也發現有許多令自己覺得困惑的相同處。\r 在高二的生命科學第四章中，有提到光照與黑暗生長的植株，在構造比較上有明\r 顯的不同；其中，提及植物的活性組織存在「光敏素」（phytochrome），此色素蛋白的\r 存在於光照後，會引發一連串反應，至此，也稍微了解植物的萌發反應的差別。\r 故藉由個人在中研院植物所的資優生培訓過程，便以此為前題,進一步探究植物基\r 因組COP 8 與白化現象的相關性
高蹺(Himantopus himantopus)度冬族群在八掌溪嘉義市段與台灣沿海各主要棲地數??
台灣地區高蹺?（Himantopus himantopus）的度冬族群出現月份是九月中旬至隔年四月，棲息地主要是在台灣西部沿海之鹽田、魚塭、沙質河口及少數內陸河川，而 1994年成立的台南四草野生動物保護區更是其在台灣的主要繁殖區。 本研究主要從2001年3月~2003年10月進行八掌溪嘉義市段高蹺?族群數量的調查，在 2001.12 月計數到最高數量約 1200 隻，2002.10 月有 1540 隻，連續兩個年度都是全國最高數量，分析環境因子及食物來源皆優於其他各沿海棲地。 在 2003 年 5 月至 9 月調查嘉義沿海高蹺?繁殖配對情形，在 5 月 24 日發現鰲鼓溼地巢數 25 個、幼鳥 14 隻，布袋七區鹽田巢數 9 個，顯示除了台南四草繁殖區外還有其他的繁殖地。 The winter residents of Black- winged Stilts in Taiwan appear in mid-September to next April. Their main habitats are the salt pans, water ponds, sandy river mouths and few inland rivers in western Taiwan. Furthermore, the “Taina Szu-Tao (四草) Wildlife Sanctuary” established in 1994 is their major breeding area. This research is the investigation of the amount of Black- winged Stilt in Pajhang River（八掌溪）, Chia-yi city（嘉義市） in 2001, Mar.~ 2003, Oct. The highest amount in 2001, Dec. is about 1200 and in 2002,Oct. is 1540. The amounts of these continuous two years are the highest in Taiwan. To analyze the reasons, the environment and food sources are better than other coastal habitats. In 2003, from May to September, the investigation of mating situation of Black-winged Stilt in Chia-yi coastal areas, twenty five nests and fourteen young birds in Ao-Ku(鰲鼓) wetland; nine nests in Pu-dai （布袋） seven salt pans are found on May 24th. It shows that there are other breeding areas except the breeding areas in Tainan Szu-Tao.
在Sapphire 基材上以電化學沉積YAG 螢光薄膜
A novel method of electrolytic Y3Al5O12 (YAG:X, X=Ce, Eu, Tb) phosphor thin-film coating on sapphire was investigated in yttrium, aluminum, cerium, europium and terbium nitrate solution. By means of X-ray diffraction (XRD), scanning electronic microscopy (SEM) observation, and cathodic polarization tests, the most efficient potential of deposition was found in the region between -1.2 V~-1.5 V. The YAG phosphor thin-film was successfully synthesized by the cathodic deposits were heat-treated at 1200 ℃ for 4 hours. The excitation photoluminescence (PL) spectra of Ce3+ in YAG consists of a strong maximum at about λ＝520~530 nm that show yellow emission peak, and a red emission was observed at about λ＝595~700 nm by additional Eu3+. The excitation PL spectra monitored inλ＝480~500 nm with the amount of Tb3+ and that show green emission peak. The fabrication of YAG phosphor thin-film will be useful to improve the emission intensity of the white LEDs in the future.由電解沈積陰極的電位—電流關係圖、Ｘ光繞射分析、SEM 觀察及實驗反應的經驗式我們可以知道要在導電的sapphire（氧化鋁單晶）基材上電解沈積合成燒結YAG 螢光薄膜所需之各類氫氧化金屬，其合適的電解沈積電位為-1.2 Ｖ~-1.5 V，我們利用電化學沈積法可以成功地合成欲燒結成YAG 螢光薄膜所需之氫氧化金屬，將所合成之氫氧化金屬放入高溫爐以1200 ℃高溫燒結4 小時後，依據我們目前以光螢光激發(PL)這些YAG 薄膜的光譜結果，可以成功地得到YAG:Ce(λ=520~530nm)黃光螢光薄膜、YAG:Eu(λ=595~700nm)紅光螢光薄膜及YAG:Tb(λ=480~500nm) 綠光螢光薄膜，證明以新的電化學方法可以成功製備YAG 螢光薄膜，相信這些研究成果未來應用在研發提昇白光LED 發光效能上有極大之助益。
對號入座
After reading “CKSH Communication 20 “, we are interested in Question 5 . We try to explain that in all the No. Crunches, whether we can put the numbers in the No. Crunches any certain position. We specify the question, according to the “Point Symmitry Homing” in mxn No. Crunches, to find the correlated characters of the rules. Finally, we find a “switch” – we can get the better way to rotate the numbers quickly by some programs.從「建中通訊解題」第20 期第5 題出發，本研究嘗試去解釋對所有的數字轉盤而言，是否能將其中的數字歸位到任意指定的位置？接下來將題目特殊化，藉由m× n 數字轉盤的「點對稱歸位」，尋找遊戲規則衍生出的相關性質。最後，利用研究出的性質找到一個「判斷式」可藉由程式設計，快速的找到較佳轉法。
西爾平斯基船帆與掛毯圖形應用於數位圖形與數位音樂創作
西爾平斯基船帆(Sierpinski Gasket)與西爾平斯基掛毯(Sierpinski Carpet)都屬於碎形(fractals)圖形的一種，可以利用迭代運算系統IFS(Iterated Function Systems)碼來產生，代入迭代運算方程式後，經由多次的運算，可以得到重覆的圖形。本研究中，我將提出一些作法，找出西爾平斯基船帆與掛毯圖形其遞迴關係式，進而討論出其數位圖形之規律性及所涵蓋的內容與性質，著重在推廣西爾平斯基船帆與掛毯圖形的概念，將一段音樂曲取出，把它們看成反覆隨機迭代點，利用程式經由多次的插值運算，計算出各段音符。最後加入基因演算法來解決音符長短的問題，把製造好的音符染色體放置到交配池中，以隨機的方式在交配池中選取其中之一個染色體進行交配的動作，此二音符染色體會交換彼此的基因，產生下一代新的代表音符長短之染色體，應用於數位音樂創作，而衍生的西爾平斯基船帆與掛毯圖形新穎應用與創新的結果，希望能提供數位音樂創作的多樣性，更進而可以找出「好聽的音樂」與數學的直接關聯性。‘Sierpinski Gasket’ and ‘Sierpinski Carpet’ are two graphics that belong to fractals. They can be produced by IFS (Iterated Function Systems). By iterative computation of many times, we can obtain the similar graphics. In my research, there are some methods to generate Sierpinski Gasket, Sierpinski Carpet, and the iterative algorithms. In addition, I would discuss the regularity and the content as well as the properties of those digital patterns. At last, the advanced application of Sierpinski Gasket and Sierpinski Carpet to digital music pieces was presented. The program took a note of several measure of music as the beginning point, and made the IFS calculations for each new note in each measure. But there was no difference in beats if you just make the IFS iteration. So I changed the beats with genetic crossover method. In this research, the expression of the DNA to each beat of note was adopted. The same way, it took a note as a beginning point. And the system obtained the new DNA from the old notes for new ones randomly. That would make a piece of brand new music. What I want to do in this research is improve the multiformity of music and find what the relationship is of ‘good music’ and mathematical algorithms.