約 4,907,549 件
https://w.atwiki.jp/azsecond/pages/27.html
Petition例文 EVE Online中AZ2.0社及びその関連企業内で起きた事例のPetition例文集です。 稚拙な文ですが、御参考まで^^; プレイヤーの言語能力の如何に関わらず、運営は当事者からのPetitionしか対応してくれません。 「英語に問題があるから~」と述べた上で代理Petiしても「本人にPetiさせろ」の一言で片づけられてしまいます Petition例文キャラクターがスタックしログイン出来ない場合 サーバー不調等の原因により消失した艦船を補填してもらう場合 クレジットカード登録時エラーが出て課金処理が出来ない場合 不当な理由によりキャラクターがBANされた場合 移動予定のエージェントが応対してくれない場合 他プレイヤーのハラスメントを訴えたい場合 Petitionしても対応されなかったケースMarket不調による購入物の重複 キャラクターがスタックしログイン出来ない場合 (区分 Group Stuck, Category Stuck Characters) ■例文 My character, (キャラ名) got stuck in (スタックしたシステム名) and cannot get log in back. Please kindly move it to (移動先システム名) so I can continue my journey to my destination. Your soonest assistance will be much appreciated. Thank you. ■大意 私のキャラクター(キャラ名)が(スタックしたシステム名)でスタックしログインする事が出来ません 目的地への旅が続けられる様(移動先システム名)へ移動して下さい。出来る限り早い対応をお願いします ■補足 2008年10月16日現在、交通量の多いシステムでスタックした場合クライアント側で移動先を指定できる様になっています 移動先システムはスタックしたシステムの隣接システムを指定して下さい(試しに3J先でお願いしたらダメって言われましたw) サーバー不調等の原因により消失した艦船を補填してもらう場合 (区分 Group Reimbursment, Category Ships Combat) ■例文 Due to (原因) happened (時間), I lost my (対象艦船) in (場所) as it went out of control. I would like to apply for reimbursment to restore what I had before this mess. I would like your immediate attention on my case and wish all of investigations and the reinmbursment will be done soon. Thank you. ■大意 (時間)に起きた(原因)により操作不能になり、(場所)で(対象艦船)を失いましたので、当問題の発生以前の状態に戻して頂きたく補填を申請します 早急な対応をお願いすると共に調査と補填が速やかに処理される事を願います ■補足 (原因)はTerrible Lag(ひどいラグ)やSystem Crush(システムのクラッシュ)等 (時間)は30 minutes ago(30分前)やYesterday(昨日)等 補填の処理は数日から長いもので数ヶ月かかります(弊社員の場合は5日かかりました) 補填はあくまでシステム側に問題があった場合のみ対応の様です 残骸に残った装備品や積載品は補填の対象外です。補填されるのは艦船消失時に失った物のみ クレジットカード登録時エラーが出て課金処理が出来ない場合 (区分 Group Billing Account Category Payment Methods Subscription Costs) ■例文 I have problem with the subscription using my credit card. Please kindly advise how I can solve the problem and activate my account. The error message shows in the subscription page is as following (課金ページのエラーメッセージをコピペ) ■大意 クレジットカードを使っての登録に問題が有り課金処理ができません。 どの様にすれば問題を解決しアカウントを有効にできるかアドバイスをお願いします。 課金ページで表示されるエラーは以下の通りです (エラーメッセージのコピペ) ■補足 課金時の情報登録ではピリオド(.)やコンマ(,)は使えないようです 不当な理由によりキャラクターがBANされた場合 (区分 Group Stuck Category Stuck Character)GMが常にいるカテゴリーの為迅速な対応が望める(かも) ■例文 My character; (キャラクター名) was recently BANed due to suspicion of (容疑) which I have never done before. I seriously protest against this unjust BAN, and demand for immediate investigation to restore my character and all property I owned. ■大意 最近身に覚えの無い(容疑)を理由に私のキャラクターがBANされました。 当の不当なBANに対して抗議すると共に迅速な調査及びキャラクターとその財産の復活を要求します。 ■補足 もちろん利用規約に反した行動をした場合は相手にされません^^; 関連Corp社員がRMT業者の一斉BANに巻き込まれ、身に覚えの無いRMT容疑でBANされた事があり、キャラクターが復活されるまで2,3日かかりました。 GMからは「キャラクター戻しました。ごめんね」とふざけたメールのみ。以降どうするかは各自で判断を^^; (容疑)はBANされた時に通知がきますので、その通知よりコピペ。 移動予定のエージェントが応対してくれない場合 (Group Stuck Category Stuck Character)他にそれらしいのが無いのでこれでOKだと思います。 ■例文 I cannot reject a offered mission from agen named (エージェント名) for neither of accepting or rejecting options do not show in agent dialog window. Please reject the offer or simply reset it for me before it harms my standings by its due. Your soonest assistance will be much appreciated. ■大意 移動予定のエージェントとの会話窓にてミッション受諾・拒否の選択肢が表示されない為、オッファーされたミッションを拒否する事ができません。期限切れでスタンディングが低下する前にミッションを拒否するか単純にオッファー自体をリセットして下さい。早期の対応をお願いします。 ■補足 ミッションをリセットする事で対応してくれます。 他プレイヤーのハラスメントを訴えたい場合 (Group Rules Policies Category Harassment) ■例文 I would like to accuse a player named (対象プレイヤー名) for his/her serious harassment. Your immediate and due attention is much required to this case as his harassment is retarting my game play. (ハラスメントの内容:多岐に渡る為お近くの方にお聞き下さい^^;) ■大意 深刻なハラスメント行為により(対象プレイヤー名)を告発します。 当のハラスメントにより私のプレイが阻害されている為、迅速且つ適切な対応を要求します。 (ハラスメントの内容) ■補足 「いつ」「どこで」「何をした」と詳細を聞かれます。内容はなるべく具体的に。 規約内の行為であれば基本的に相手にしてもらえません^^; 弊社員がアステロイドベルトにて4,5時間の間ワープの妨害等を受け続けクレームを出しましたが規約範囲内の行為なので何もできないとの事でした。 Petitionしても対応されなかったケース Market不調による購入物の重複 ■状況 マーケットの不調でBUY ITEMをしてもwalletアイコンは点滅するものの口座からお金が引き落とされずアイテムも納入されませんでした。 PCの再起動・再ログイン・別回線・別PCでもサーバーの様子を確認しましたがマーケット以外は通常に機能しており明らかにサーバー側の原因によるものでした。 BUY ITEMを数度試してみましたが全く反応がなく15分程して一気に試した回数分の取引が行われた為、リファンドをしてもらう様Petitionしました。 ■CCP返答 「目的の品は既に手に入れているので対応しません。重複した物は自分で処理して下さい。」 ■補足 ログを確認すればすぐにわかる様な気がしますが、Petitionした本人が最初の返答で対応せずの結果を出してきたGMに抗議しても 意味無しと判断し以降の抗議等はしませんでした。マーケットが反応しない場合は下手に操作を繰り返さず暫く待ってみる事をお勧めします。 EVE-Online™ and EVE imagery © CCP.
https://w.atwiki.jp/diablo3_2ch/pages/73.html
効果 Unlocked at level 25-Cooldown 120 seconds Instantly restore all Discipline.瞬時にDisciplineを全回復する。 Alabaster Backup PlanGrants a 55% chance that the cooldown will not be triggered when used.55%の確率でクールダウンが発生しない。 Crimson PunishmentRemoves cooldown. Skill now costs 19 Discipline to cast but restores all Hatred instead of all Discipline.クールダウンを取り除く。スキルは19 Disciplineのコストで発動し、Hatredを全回復する。 Golden Battle ScarsAlso restores 55% of your Life when used.ライフの55%も回復する。 Indigo InvigorationWhen activated, increases your maximum Discipline by 18 for 120 seconds.発動時に最大Disciplineを120秒間、18増やす。 Obsidan Focused MindInstead of replenishing Discipline immediately, you will gain 60 Discipline over 30 seconds.即時回復ではなく、30秒で60 Discipline回復するようになる。 評価 使い方 その他 コメント 名前 コメント Demon Hunter Skills Active Skills Offensive Hungering Arrow、Entangling Shot、Evasive Fire、Fan of Knives、Bola Shot、Grenades、Chakram、Impale、Spike Trap、Elemental Arrow、Multishot、Cluster Arrow、Rapid Fire、Strafe、Rain of Vengeance Descipline Caltrops、Vault、Marked for Death、Smoke Screen、Companion、Shadow Power、Sentry Utility Preparation Passive Skills Brooding、Thrill of the Hunt、Vengeance、Steady Aim、Cull the Weak、Fundamentals、Hot Pursuit、Archery、Perfectionist、Custom Engineering、Grenadier、Sharpshooter、Ballistics
https://w.atwiki.jp/gohongilab2/pages/45.html
format for references APA Funk, J. L. (1998). Competition between regional standards and the success and failure of firms in the world-wide mobile communication market. Telecommunications policy, 22(4-5), 419-441. 経営情報学会 Funk, J.L. "Competition between regional standards and the success and failure of firms in the world-wide mobile communication market", Telecommunications policy, Vol.22, No.4-5, 1998, pp. 419-441 bibtex @article{Funk1998competition, title={{Competition between regional standards and the success and failure of firms in the world-wide mobile communication market}}, author={Funk, J.L.}, journal={Telecommunications policy}, volume={22}, number={4-5}, pages={419--441}, issn={0308-5961}, year={1998}, publisher={Elsevier} } auther Funk, J.L. url Scopus Science Direct Google Scholar memo cited as Ohsaki200804Japanese pp.18 世界標準の変化は国際市場のシェアに大きな影響を与える。GSMの普及により、アメリカのメーカーはシェアを落とし、ほとんどのヨーロッパのメーカーはシェアを拡大させた。ヨーロッパには、情報・家電・半導体産業において、強いメーカーがなく、ヨーロッパの市場はアメリカや日本の企業に席巻されると多くのヨーロッパ人が考えていたが、GSMの普及により免れた。(pp.424-426) tags DoCoMo GSM PDC case competition_in_standardization standard strategy_for_standardization Funk_J_L
https://w.atwiki.jp/hmiku/pages/19981.html
【登録タグ R アップルP 曲 鏡音リン】 作詞:アップルP 作曲:アップルP 編曲:アップルP 唄:鏡音リン 曲紹介 アップルPの3作目。のちに6作目としてフルバージョンを発表した。 同作者2作目の「Escapism Guitar」の続きになっている。 歌詞 弾き続けていたギターは もう音がでなくなった 錆ついた弦で傷ついた血だらけの指 何もかも忘れるため 始めた現実逃避は 傷みと痛みを思い出させたようだ 出口の見えないトンネル 速くなっていく鼓動と 不安 恐怖 絶望だらけの暗闇が続く 加速していくこの列車は 止まることを知らないから 自分の思いと裏腹に突き進んで崩れ去ってく ただ運ばれるこの体は 傷つけば捨てられるオモチャなの? 答えてくれない闇の中 唯一照らされていたものは? 次から次へと生まれる思いは 私を壊れさせてゆく 千切れた指から伝う涙 止められぬまま… だけど 染まりゆく空に放たれる 確かな確かな記憶は 自分の思いと裏腹に突き進んで 消えた… ただ運ばれるこの体は 傷つけば捨てられるオモチャなの? 答えてくれない闇の中 唯一照らされていたものは? 「あと少しだけ、もう少しだけ」 この血だらけの指に問いかけたの 答えてくれない闇の中 唯一照らされていたGuitar コメント うわぁあ、好き!! -- 名無しさん (2012-01-04 18 06 14) 神曲だな、ずっと聴いてる。 -- 神音グセ (2012-01-04 18 30 06) もっと評価されるべき -- 名無しさん (2012-01-04 19 46 28) 名前 コメント
https://w.atwiki.jp/hmiku/pages/46968.html
【登録タグ H VOCALOID matika 曲 鏡音レン】 作詞:matika 作曲:matika 編曲:matika 唄:鏡音レン 曲紹介 私にとって大切だった場所は、彼にとっては邪魔でしかなかった。全てを奪った貴方が憎いのよー、そんな感じの歌です。 歌詞 (PIAPROより転載) 私の大切なこの場所を 私の大切なこの人達を 奪う手を見ていたの 何も出来ずに立ち尽くす 何故、どうして、奪い去るの? 何故、どうして、彼らなの? 答えは闇の中 知ることも許されていないの? 嘘吐いたのは誰?私の心返して? 何もかも信じれなくなってしまう前に 絶望に惑いそう 私の心乱れて 黒く染め上げてしまうでしょう…? 彼にも大切なこの場所が 彼にも大切なこの人達が 本当は全て嘘だったの? 何も解らず泣き崩れる 何故、どうして、殺したの? 何故、どうして、貴方なの? 答えは闇の中 訊くことも許されていないの? 裏切り者は誰?私の居場所返して? 復讐にこの身を委ねてしまう前に 絶望に狂いそう 私の心歪んで 暗闇に捕らわれてしまうでしょう…? 許さない 許せない どんな理由があろうとも 憎い 貴方が その姿 声さえ 信じてた 貴方を 裏切られ 見失った もう 後戻りは出来ないよ? 傷付いたのは誰?私の涙枯らして 零れた笑い壊れた証なのでしょう? 絶望に狂わされ 私の心殺して 全て終わりにしてしまいましょう…? コメント 名前 コメント
https://w.atwiki.jp/international_law/pages/27.html
Treaty That Requires an Approval of the Diet of Japan The Constitution of Japan The Article 73, and its Section 3 of the Constitution of Japan refer "The Cabinet, in addition to other general administrative functions, shall perform the following functions 3. Conclude treaties. However, it shall obtain prior or, depending on circumstances, subsequent approval of the Diet." The treaties that need the Diet s approval is 1. Treaty which including legal matter which requires legislative step. 2. Treaty which including finalcial matter for example needs special financial expenditure. 3. Politically improtant treaty which prescribes fundamental relationship between nations.
https://w.atwiki.jp/dirwiki/pages/62.html
「DIR EN GREY×Boo CHANNEL」(ディル・アン・グレイ ブー・チャンネル)は、2012年8月28日よりニコニコ生放送の「DIR EN GREY CHANNEL」にて配信されている番組。パーソナリティーはBoo。 2012年8月11日より、「DIR EN GREY CHANNEL 24HOURS」と題した24時間特番を配信。 放送履歴 放送年月日 放送時間 タイトル ゲスト 2011年8月2日 20 00~21 02 DIR EN GREY×Boo CHANNEL #1 Die 2011年9月9日 23 00~24 27 DIR EN GREY×Boo CHANNEL #2 Toshiya 2011年10月26日 19 00~20 29 DIR EN GREY×Boo CHANNEL #3 Shinya 2011年12月26日 12 00~14 21 DIR EN GREY×Boo CHANNEL #4 増田勇一 2012年1月17日 22 00~23 16 DIR EN GREY×Boo CHANNEL #5 薫 2012年8月11日2012年8月12日 11日 22 00~12日 22 52 DIR EN GREY CHANNEL 24HOURS DIR EN GREY 外部リンク DIR EN GREY CHANNEL | ニコニコチャンネル 名前 コメント
https://w.atwiki.jp/gohongilab2/pages/77.html
tags innvation open_innovation definition url definition Chesbrough2003open cited in West2006does **pp. 5 \item licencing technology depend on the firm s IP strategy \item business model consistent with both the valie of the IP and the innovator s position in the value network ChesbroughRosenbloom2002role. BaldwinVonHippel2011modeling An innovation is “open” in our terminology when all information related to the innovation is a public good— nonrivalrous and nonexcludable. This usage is closely related to the meaning of open in the terms “open source software” (Raymond1999Cathedral) and “open science” (Partha and David 1994). Partha, D., David, P. A. (1994). Toward a new economics of science. Research policy, 23(5), 487-521. categorization effects history origin terms derivative terms related terms related references Rosenbloom1996engines @book{Rosenbloom1996engines, title={Engines of innovation US industrial research at the end of an era}, author={Rosenbloom, R.S. and Spencer, W.J.}, year={1996}, publisher={Harvard Business Press} } @book{Rosenbloom1996engines, title={Engines of innovation US industrial research at the end of an era}, author={Rosenbloom, R.S. and Spencer, W.J.}, year={1996}, publisher={Harvard Business Press}, note ={(西村 吉雄 訳, 中央研究所の時代の終焉 - 研究開発の未来, 日経BP社 (1998))}
https://w.atwiki.jp/gohongilab2/pages/86.html
tags Saloner_G economics standard Farrell_J url eScholarship Google Scholar auther Farrell, J. and Saloner, G. bibtex @article{FarrellSaloner1986competition, title={Competition, Compatibility and Standards The Economics of Horses, Penguins and Lemmings}, author={Farrell, J. and Saloner, G.}, journal={Economics Working Papers}, year={1986}, publisher={University of California at Berkeley} } format for references * abstract memo cited as Antonelli1994localized Chap2 A first distinction stresses the difference between product standards, document standards and compatibility standards the former concern products, the second refer to information codes, the latter refer to processes (FarrellSaloner1986competition Besen1990european .
https://w.atwiki.jp/pcs_explanation/pages/16.html
IN/overview ISU components. Interpretation. Interpretation overview What is interpretation? Interpretation is the personal and creative translation of music by using movements with intricacy, difficulty and quality. Movement is the keyword. Variety of movement is required in all parts of the skater’s composition, in order to have depth in the interpretation of the music. All written criteria for interpretation are addressed in this DVD. But to simplify the process for the judge, we are focused on three main points of interests for interpretation. Musical movement, expressive/nuance movement, and effortless movement. IN/Music Movement http //youtu.be/Uio9PKFlEAY 2.1.2. ISU components. Interpretation. Musical movement Musical movement is movement that reflects the phrasing, the character, and the style of the musical selection. Music is played in phrases, much like different languages we speak, each piece of music, like a different language may have different rhythms and tempos, but all has a question and and an answer pattern, a question and answer phrase of music completes a whole musical sentence. Let’s listen to the musical selection from an ice dance team. This style of music is classical. (1 50) Let’s now observe what movements were performed to the music. Look to see if the movement phrasing corresponds with the musical phrasing. (3 07) The phrasing of the movement matched well with the phrasing of the music. In ice dance, the focus is on music and movement and the elements are such that they can be integrated into the interpretation smoothly. Now, a selection of music from a single skater. It is also classical. (4 20) Let’s look at what movements were performed. Pay particular attention to the movement phrasing to see if it corresponds with the musical phrasing. (5 24) Generally speaking, for singles and pairs, as the skaters prepare for their risky, technical elements, there is often a disconnect between the music and their movement. (5 46) Here is an example where the skater ignores the music, and becomes disconnected for an extended amount of time prior to the technical element. (6 13) While preparing for his second technical element, he again disconnects with the music. (6 25) In preparation for the quad toe-triple toe combination, this skater ignored the music for 12 seconds in order to set up the element, which is worth 13.8 points. Prior to the triple axel attempt, which is worth 8.2 points, he ignored the music for 11 seconds. There are many points to be gained by successfully completing the technical elements. But in numerous cases, it is at the cost of losing connection with the music and interpretation. In regards to the skater being connected to the music, let’s look at some performances. To help guide and for discussion point, we will indicate on the screen where the skater loses connection with the music and where they are connected. While we do this, consider that the technical element is part of the program, and it should work with the music, regardless of its success. (8 57) Even though there was a mistake, the disconnect with the music was very short. The movements were not always phrased perfectly, but he was both physically and emotionally connected with the music. (10 47) In the ISU judging system, the balance between technical points and component points is up to the skater. If the skater chooses to execute difficult jumps with high point values, but does not interpret the music for an extended length of time prior to the technical element, the price they pay should be reflected in the interpretation score. Looking at the time of the connection with the music between these two skaters, the skater on the left was connected for 33 seconds, and the skater on the right for a minute and 25 seconds. The disconnect time was 1 04 for the skater on the left, and just 9 seconds for the skater on the right. This is a pair skating example, where almost all the short program movements are connected to the music. (14 34) With the exception of two very short disconnects, all the entrances and exits of technical elements are performed with a full attention paid to the musical phrasing, character and style. This pair is not at the level of the previous and are disconnected for a significantly more time than the first team. (17 52) Just for interest, looking at the amount of time connected to the music, the team on the left was connected for only 56 seconds, and the team on the right was for 2 minutes and 39 seconds. The disconnect time of the team on the left was 1 minute and 56 seconds, and the team on the right just 12 seconds. There is a significant difference in the overall quality of the teams. And the difference in the amount of the time connected to the music is also reflected. IN/Expressive nuance movement http //youtu.be/oLk0a-BDY5g Expressve/nuance movement relates to the detailed finesse of the skater or the team. It is their ability to respond with personal nuances and express variations and intensity, tempo, and the dynamics of the music made by the composer and/or the musician. So, what exactly is a musical nuance? A musical nuance is anything that gives life to the music, like an increase in tempo, or elongation of a note, or the addition of instruments to strengthen a phrase, and intensity and etc. Listen to this piece of music. And although it is simply a repetition of the same musical phrase, it changes from phrase to phrase by tempo, intensity and the use of different instruments. We have revealed an audio wave graph so you can see the musical highlights at the same time you hear them. (1 27) Let’s now look at what was performed during this music, and see if you can pick one movement nuance that had nothing to do with the element, and was only there to recognize the music. (2 18) In this next example, we look more closely at the highlights of the music connected with the nuance movement using slow motion. (2 46) Notice the audio wave bar at its highest point at the same time as the skater raises her head, then quickly turns it to the left, then right to catch the downbeats following the highlight. (3 32) Nuance movements recognizing highlights or at times such small details that can be hard to see in the overall picture, but in the end, it is the small details that make a good performance into a great performance. Watching one last time without any graphics or use of slow motion, it is easier to see the detail of the movement and hear the detail of the music. (4 37) It is important to understand that the interpretation of the same music with the same choreography can greatly differ from an event to an event. If the skater is not feeling well or the technical elements are not successful, or if they are struggled, this can change the phrasing of the movement with the music. It can change the intensity of the overall interpretation of the program. Let’s look at the same skater who has good skills and a good program. On the right side of the screen you will see her best performance of the year, and on the left side the same program and music, but not skated as well. How does this affect the expression and nuance movements? (7 29) With the smallest mistakes on the left, the skater is now behind her music, and is faced with a decision whether to rush, take a shortcut or leave something out in order to catch up. The energy and thought process to make such a decision in such an important moment, takes her away from the magical connection with the music, she seems to have on the right side of the screen. (9 32) At the end of the program, it becomes clear she was unable to catch up with the music, which left her struggling both technically and with her interpretation. It should be noted that this skater was a wonderful and capable skater of the highest level, but on that day, the interpretation was affected. (9 51) Here is another example of a very good skater. Performing the same program, at two very different standards. On the left of the screen, is a very good performance from January 2008, and on the right, a more difficult and challenging performance from March of the same year. Notice that once the program begins to have difficulty, the attention to expression and nuances and interpretation begins to rapidly decline. (15 02) This example, again, demonstrates that when a skater has technical difficulty, much of the expression and nuance movement is left out, while trying to catch up to the music and returned to successfully completed the elements. IN/Effortless movement http //youtu.be/lLl44YmUhdg Effortless movement. Effortless movement is when the skater effortlessly changes the tempo, rhythm, or intensity of their skating in direct relationship with the same changes in the music. During this program, the skater keeps her speed and flow moving effortlessly from element to element, while at the same time responding to changes in tempo, and intensity of the music. (3 16) Our next example of effortless movement is from a skater who demonstrates a wonderful sense of rhythm with the music, responses to the nuances of the music with small movements. He is totally committed to the character and style of the music, and because of all this, makes the program to seem entirely effortless. It is a good example that all the aspects of the program come together, the athlete and audience are bonded through a seemingly effortless performance. IN/Conclusion http //youtu.be/Cex942xblXE The judges have many things to consider during the skater’s performance. Breaking down by item by item it seems almost impossible to assess each detail with such accuracy. So it is important that one must have an automatic understanding of the priorities in each component. In interpretation we have tried to make it simpler by concentrating on three main points, which would become your reference points prior to giving a score. Musical movement ask yourself, did the skater or the team’s movement reflect the style, character, and phrasing of the music? Did you, as the audience, or the judge, feel involved by the music and movement, or were you just watching the athletes skate, while the music happened to be played? Expressive nuance movement there is detail in every musical piece. Did the skater or the team’s movement express all details of the music, or was there no recognition of the music detail? Effortless movement Did the program appear effortless? Effortless programs often seem to go quickly, or without visible struggling and fatigue by the end. The judge will be based with certain aspects or percentages of these questions being answered “yes.” It is then up to the judge to *accurately* as possible apply the corresponding percentage overall to the scoring each component. Interpretation, it is the relationship of the skater’s movements connected with the style and character of the music. The recognition from the skater in responding with the movements and the nuances of the music. And perhaps the most difficult aspect, the ability to make all of the scenes effortless.