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英語 高校生

線を引いたところの訳し方を丁寧に教えて頂きたいです🙇‍♀️

L American poet Ralph Waldo Emerson once said, "Every artist was first an amateur." He likely never thought those words would apply to machines. Yet artificial intelligence (AI) has demonstrated a growing talent for creativity, whether writing a heavy-metal rock album or producing an original portrait that is strikingly similar to a Rembrandt. Applying AI to the art world might seem unoriginal; there are, of course, plenty of humans delivering awe-inspiring work. Supporters say, however, the real beauty of training AI to be creative does not lie in the end product-but rather in the technology's potential to expand on its own machine-learning education, and to solve problems by thinking in different ways far faster and better than humans can. For example, creative problem-solving AI could someday make snap decisions that save the lives of the passengers in a self-driving car if its sensors fail. AI with a creative component will be essential in developing highly automated systems that can respond appropriately to human life, says Mark Riedl, an associate professor at Georgia Institute of Technology's School of Interactive Computing. "The fact is, we do lots of little bits of creativity every single day; lots of problem-solving goes on," Riedl says. "If my son gets a toy stuck under the couch, I have to devise a tool from a hanger to get it out." Riedl points out human creativity is also important in human social interactions, even telling a well-timed joke or recognizing a pun. Computers struggle with such subtleties. An incomplete understanding of how humans construct metaphors, for example, was all it took for an experiment in Al-generated literature to compose a new Harry Potter chapter filled with nonsensical sentences such as, "The floor of the castle seemed like a large pile

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英語 高校生

下から15行目のthrow whichのthrow とはなんですか?

y II Day 12 15 5 Negro Leagues Baseball was a collection of major and minor-league baseball leagues that were the first to showcase black team sports on intertwined with the African American and American experience not only a national scale. Launched in 1895, the leagues, as with jazz, became as a cultural element, but as a lucrative business endeavor. team The leagues were not under central management, and schedules and composition League, were changeable from season to season. Appearance and disappearance of leagues was common: the National Colored Baseball for instance, collapsed after only two weeks of operations. Latins, especially Cubans, were also a significant presence on teams. In these ways, the Negro Leagues were quite similar to their white counterparts which would eventually consolidate into Major League Baseball. Blacks near the beginning of the 20th century had only a fraction of whites' purchasing power, so the emergence of the Negro Leagues might have seemed unlikely. However, the Negro Leagues had two main draws that accounted for its business success. The first was a deep reserve of athletic talent. After blacks were formally excluded from white leagues in the 1880s, the Negro Leagues were the sole organization through which black players could work professionally. The quality of Negro Leagues 20 players was high, and substantiated through exhibition matches between Negro Leagues and Major League teams: over the years, both had their fair share of wins and losses in these matches. Another reason for the success of the Negro Leagues was an increasingly affluent black fan base. Driven by American industrialization, blacks were concentrating in major cities such as New York City, Chicago, and Atlanta. Usually barred by custom-and in the South by law-from attending many white entertainment outlets, blacks turned to Negro Leagues games. As a result of these factors, by the 20th century the Negro Leagues were earning a combined millions of dollars. This profitability ended with the desegregation of Major League Baseball. Black fans began attending Major League games, starving the Negro Leagues of its core revenue source. By 1951, the Negro Leagues had ended, although a succession of black star athletes in the Major League had begun.

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物理 大学生・専門学校生・社会人

A.Bの電流がcにつくる磁場はなぜ図のようになるのか教えてください。 右ねじの法則をどう使えば図のようになるんですか?

例題43 平行電流がおよぼしあう力 図のように, 3本の平行で十分に長い直線状の導線A, B, とBに紙面の表から裏の向きに, Cには逆向きに,いずれも cを, 一辺10cmの正三角形の頂点に, 紙面に垂直に置く。 A 12.0Aの電流を流す。 真空の透磁率を4×10-7 N/A とする。 (1) A,Bの電流が,Cの位置につくる磁場の向きと強さはい くらか。 (2)導線Cの長さ 0.50mの部分が受ける, 力の向きと大きさはいくらか。 指針 (1) ねじの法則を用いて, A, B の電流がCの位置につくる磁場を図示し, それ らのベクトル和を求める。 磁場の強さは. H=I/(2πr) の式を用いて計算する。 (2) フレミングの左手の法則から力の向きを, 磁場 261 発展問題 524 10cm B ので,Ha=H, である。 合成磁場は,図の右 向きとなる。 H, HB は, I 2.0 10 H=HB= = = - [A/m〕 2лr 2×0.10 π 合成磁場の強さHは, F=1JHI の式から力の大きさを求める。H=2×Hacos30°=2x10x1 08 π =5.50A/m 5.5A/m 10/3 = π 解説 F30° 電流の大きさは等しく, Cまでの距離も等しい (1)A,Bの電流がC の位置につくる磁場 A,Bは,右ねじの 法則から、図のように なる。HA,HB は,そ れぞれ AC, BC と垂直である。また,A,Bの -HB CQ H (2) フレミングの左手の法則から, 導線Cが受 ける力の向きは,AB と垂直であり,図の上 HA 向きとなる。 力の大きさFは, AQ &B 10√3 F=μolHl=(4×10-7) x2.0x -×0.50 π =6.92×10-N 6.9×10-N

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物理 高校生

なぜ答えは③になるのでしょうか

図1に示すように、磁束密度の大きさが B 〔T] でy軸の正の向きを向いた一様 な磁場 (磁界) 中で, 細い導線でできた長方形の一巻きコイル ABCD が回転する。 辺AB と辺 CD の長さはα 〔m〕 であり,辺BCと辺DAの長さは6〔m〕 である。 辺 AB, BC, CD の電気抵抗は無視できるが, 辺 DAの電気抵抗は R [Q] である。 点Aは座標原点にある。 コイルは軸にある辺AD を軸にして,軸の正の側か ら見て反時計回りに一定の角速度w 〔rad/s] で回転している。 一巻きコイルの自 己インダクタンスは無視できる。 必要であれば以下の公式を用いてもよい。 sin (a ±3 = sin a cos β ± cosa sin 3 cos(a±β)= cos a cos β 干 sin a sin β Z (複号同順) 図1のように, 軸の正の向きと辺ABのなす角が0 〔rad〕 のとき, 辺BCの速度 ア である。 辺BCの中にある電荷-e [C] (ただ の成分 [m/s] はv= 0-0のとき、 le > 0) を持つ自由電子の速度のæ成分もと同じとすれば, 0<0く 電子は イ のローレンツ力を受ける。 これによって, 閉じている一巻きコ イル ABCD には誘導電流が流れる。 2 これを,コイルを貫く磁束が時間的に変化するという見方で見てみよう。 コイル の面と常に垂直でコイルとともに回転する矢印Nを図1のようにとる。 コイルの面 を矢印Nの向きに磁束線が貫く場合, コイルを貫く磁束は正, 逆向きに貫く場合 πT を負とする。 0 の範囲がー <0 の場合,磁束線はコイルを矢印Nの向きに買 2 2 いており, コイルを貫く磁束 (0) 〔Wb] は ウである。ファラデーの電磁誘

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