One procedure was carried out on the basis of CPS impulse and magnitude of occurrence, while the other was undertaken on the basis of the most frequently occurring pattern swings.
This paper presents a method of identifying the parameters of airport and road pavement models (in the form of multi-layered elastic half-spaces) on the basis of dynamic impulse test results, using a method of transforming the dynamic displacements into their static substitutes (i.e. the displacements which would be determined by a hypothetical static test).
The aim of this review is to discuss current thought regarding the nature of impulse control, and to evaluate the advancements that have been made in improving our understanding of the neural and neurochemical basis of impulsive behavior.
The dynamics model is established to further improve the design basis of the liquid impulse pressure generator, optimize the impulse pressure waveform and extend the lower limit of the range.
On the basis of this method, impulses were extracted from practical engineering signals; the results of this procedure are very reliable.
The basis behind impulse oscillometry is that transmission of flow oscillations through the airways reflects differences in distributed resistance, compliance, and inertia along the airways.
This is the basis behind impulse oscillometry used for diagnostic purposes [ 21, 22].
This might be the basis for the high rate of impulse control disorders in Parkinson's patients receiving dopaminergic agonists.
As with Graber's "smashing dishes with one of my uncle's hammers/& gluing them back together in new ways," the imagined undertaking in "Horse Piano" highlights the basis of art as an impulse toward preservation — in McDonald's words, to insure that "everybody will know/how much work it is to hold anything up in this world".
On the basis of velocity measurements and impulse responses it is shown that the boundary condition according to Wehner-Wihelm is more appropriate for the description of the reactor.
It's strange and noteworthy that Michelangelo Antonioni, in interviews in the nineteen-fifties and early nineteen-sixties, often made reference to the unconscious, to spontaneous creation and to his own practice of filming on the basis of his immediate and unplanned impulses.
