約 5,888,384 件
https://w.atwiki.jp/mrfrtech/pages/100.html
Content Analytics Market Overview Content Analytics Market is defined as a group of technologies that can process digital content and use behavior while engaging and consuming the content. For instance, news sites, social media platforms, customers, documents etc., to answer specific questions. Content is one of the important tools for enhancing and exposing the market to engage consumers. It is a way to engage the consumers and keep them on their toes. It fulfills required business goals like brand awareness, increasing revenue, creating leads, etc.; in the pandemic, several market revenue decreased. However, the rising use of cloud-based technologies increased in the COVID 19 outbreak, due to which the market got positively impacted. The effect of the pandemic is decreasing, and it will accelerate the market. The tech giants are forming new developments, and regions rising digitalization will push the market towards potential growth. As cloud technologies are easing business operations, it will increase the demand for content analysis; these factors will fuel the market. The increasing popularity of online mediums such as Instagram, Facebook, Linkedin, and youtube upsurge the demand for content analytics and will help in the market s progression, creating many opportunities for the Content Analytics Market. Many companies adopt content analytic software for major growth; such advantages will foster the market. The inability and disruption in the industrial operation and supply chain function are huge restraints for the market. Still, people are there who lack awareness, and the growing concern and the data breach are challenges the market will have to cross to gain growth. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/3956 Major Key Players Due to the presence of multiple players who strive to capture a greater share, the global content analytics market appears to be moderately fragmented during the forecast period of 2017 and 2023. The report published by Market Research Future has profiled the significant players in the content analytics market to provide a comprehensive overview of their operations and strategies. Some of these prominent players present in the global Content Analytics Market include International Business Machine Corporation (U.S.), Adobe Systems, INC. (U.S.), Clarabridge, INC. (U.S.), Interactive Intelligence Group, INC. (U.S.), Opentext Corporation (Canada), Oracle Corporation (U.S.), Verint Systems (U.S.), Nice Systems LTD. (Israel), SAP SE (Germany), and SAS Institute, INC. (U.S.). Segmental Analysis The Content Analytics Market is segmented by application, deployment and vertical. The market is divided into the on-premise and cloud-based on the application segment. The cloud-based content analysis software will gain a high growth rate in the forecast period. The application segment is bifurcated into social media analytics, web analytics, text analytics, speech analytics, etc. Social media analytics will dominate the market in the forecast period as most people spend their time on social platforms. Not only people but different enterprises and industries also use this platform to improve market growth as this increases exposure. The variables of the vertical segment of the Content Analytics Market are IT and Telecommunication, media and entertainment, retail and consumer goods, healthcare, government, BFSI, travel and hospitality, and others. Regional Analysis The Content Analytics Market is studied in five major regions such as North America, Asia Pacific, Europe and other parts. North America will register a high CAGR in the market in the forecast period. The presence of major vendors and the rising use of content analytic software will improve the market condition in the forecast period. The Asia Pacific is growing in the second position due to the high adoption of digitalization. The region is also experiencing high development in IT structure and will propel the market. Industry Update LinkedIn has announced to the customers that it is bringing some new tools for creators, including improved content analytics, new profile video tools, newsletter showcase options, a subscriber bell for update notifications, etc. Access Report Details @ https //www.marketresearchfuture.com/reports/content-analytics-market-3956 Table of Contents 1 Market Introduction 1.1 Introduction 1.2 Scope of Study 1.2.1 Research objective 1.2.2 Assumptions 1.2.3 Limitations 1.3 Market Structure 2 Research Methodology 2.1 Research Type 2.2 Primary Research 2.3 Secondary Research 2.4 Forecast Model 2.4.1 Market Data Collection, Analysis Forecast 2.4.2 Market Size Estimation Continued…. View Similar Report** Mobile Security Software Market https //writeonwall.com/mobile-security-software-market-size-key-players-with-product-particulars-applications-future-trend-business-growth-market-size-key-players-update-business-statistics-and-forecast-till-20/ Casino Market https //tealfeed.com/antivirus-software-industrykey-players-product-particulars-breig Antivirus Software Market https //tealfeed.com/antivirus-software-industrykey-players-product-particulars-breig List of Tables Table 1 Content Analytics Market, By Application Table 2 Content Analytics Market, By Deployment Table 3 Content Analytics Market, By Vertical Table 4 Content Analytics Market, By Region Table 5 North America Content Analytics Market, By Application Continued…. List of Figures Figure 1 Research Type Figure 2 Content Analytics Market By Application (%) Figure 3 Content Analytics Market By Deployment (%) Figure 4 Content Analytics Market By Vertical (%) Figure 5 Content Analytics Market By Region (%) Continued… About Market Research Future At Market Research Future (MRFR), we enable our clients to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. MRFR team have supreme objective to provide the optimum quality market research and intelligence services to our clients. Our market research studies by Solutions, Application, Logistics and market players for global, regional, and country level market segments, enable our clients to see more, know more, and do more, which help to answer all their most important questions. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
https://w.atwiki.jp/vocalive/pages/20.html
↓↓↓現在のページ名（Current Page Name）↓) メニューMENU 【Link/International Vocaloid Sites・ボーカロイド関連の海外サイト】 Linksリンク集 International Vocaloid Live Concert sites ボーカロイドライブ海外関連サイト International Vocaloid Sites・ボーカロイド関連の海外サイト Vocaloid Sites・MEMO Vocaloid Sites・ボーカロイド関連サイト What is the culture of Vocaloid? ボーカロイド文化とは? International Vocaloid Sites・ボーカロイド関連の海外サイト SeyrenLK s description about Vocaloid and Hatsune Miku Software in English. http //www.youtube.com/user/SeyrenLK http //youtubeseyrenlk.blogspot.com/2011/10/hatsune-miku-concert-in-los-angeles.html Vocaloid Wiki http //vocaloid.wikia.com/wiki/Vocaloid_Wiki ＊英語版ボーカロイド情報 Vocaloid Sub Fan http //v-subfan.kokage.cc/ ＊YouTube に転載された各国語訳のデータベース Vocaloid Otaku .NET http //vocaloidotaku.net Vocaloidism-The Center of the English Vocaloid Community (Vism) http //www.vocaloidism.com/ http //www.vocaloidism.com/blog/ (blog) http //www.vocaforum.com/ Brasil Vocaloid Brasil http //vocaloidbrasil.com/ Vocaloid wiki http //vocaloid.wikia.com/wiki/Vocaloid Vocaloid-User_net Vocaloid User Community and Forum http //vocaloid-user.net/ CHINA VOCALOID CHINA http //vocaloidchina.com/ VOCALOID CHINA PROJECT http //vocaloidproject.com/ http //vocaloid.blog120.fc2.com/blog-entry-10308.html (Japanese Translation) VOCALOID CHINA STORE-YAMAHA http //cn.vocaloidstore.com/ VOCALOID-CHINA http //www.weibo.com/vocaloidchina Input Language 拼音（Pīnyīn） 拼音（ピンイン） http //ja.wikipedia.org/wiki/%E3%83%94%E3%83%B3%E3%82%A4%E3%83%B3 出た！中国語版ボーカロイドのイメージキャラの大賞が発表（日本語訳 Japanese Translation) http //vocaloid.blog120.fc2.com/blog-entry-10734.html 日時：2012年2月4日、5日 イベント名： 成都（Chengdu)ComicParty 入場料： 25元 公式サイト http //scparty.com/ 企業参加：COSPA、ANIMATE、WACOM 他 イベントに参加すると・・・ こちらのハイセンスなステッカー限定5,000枚！がもらえます！ ※2月のブログTOP絵に際採用された方にはもれなくこちらをプレゼント！ http //blog.piapro.jp/2012/01/topsnow-miku-20122top.html Republic of Costa Rica 中米コスタリカで、「初音ミク」の人気が上がっている理由 http //togetter.com/li/90729 Republic of Costa Rica http //www.mofa.go.jp/mofaj/area/costarica/index.html France Blog Music de hatsune-miku - Vocaloid in France http //hatsune-miku.skyrock.com/ Vocaloid France http //www.vocaloid.fr/ http //miki.vocaloid.fr/index.php/Accueil https //twitter.com/#!/VocaloidFR http //sygeau.net/board/?s=f1eaa625a936a02c74c300b2297bf022 otakucity.net (French) http //otakucity.net/ France Live Viewing Concert Vocaloid 2011( France) http //www.youtube.com/watch?v=mG0wEQ1VuZ4 Concert Vocaloid 11 novembre 2011 à Torcy http //nihon-no-ichigo.skyrock.com/ Luka Luka Night fever www.youtube.com/watch?v=N5i-KjSSvkk http //www.youtube.com/watch?v=yQT4oJ1qsgM http //www.youtube.com/user/Lilistyle77 Powerfx http //powerfx.com/ VOCALOID（ボーカロイド）リンク集 http //vocaloid.ninja-web.net/ グァテマラ Miku "Idol Star" (el fan-documental) loquendo 1/4 http //www.youtube.com/watch?v=AwLx7At9sv8 http //www.youtube.com/watch?v=W26J4_uhmSc http //www.youtube.com/watch?v=itp_WibIDRs http //www.youtube.com/watch?v=zhH8znqxeNo Indonesia http //nendonesia.com/ Idul Fitri (Indonesian)- Musatori feat. Hatsune Miku- http //www.youtube.com/watch?v=0RL15gSOKqE Italy http //www.levelup.com/articulos/17348/J-Level-58-Sayonara-Gemaga/ Philippines Vocaloid Philippines http //www.facebook.com/pages/Vocaloid-Philippines Miku Hatsune (初音ミク) Philippines http //www.facebook.com/pages/Miku-Hatsune-%E5%88%9D%E9%9F%B3%E3%83%9F%E3%82%AF-Philippines/220181701377970?sk=wall Taiwan 台湾 Vocaloid Only Event http //vocaworld.web.fc2.com/ 主辦 http //macia1192.blog.fc2.com/ 出た！5月27日に台湾でボカロオンリーの「VOCAWORLD-01」が開催 (日本語 Japanese Translation) http //vocaloid.blog120.fc2.com/blog-entry-10808.html 台湾で英語版VOCALOIDが独自パッケージで発売されるらしい件 http //vocaloid.blog120.fc2.com/blog-entry-9672.html HOBBYMAX 2011年新作展示 http //blog.sina.com.cn/s/blog_5ed046de01018bjs.html http //blog.sina.com.cn/hobbymax 台湾サークル「HOBBYMAX」のフィギュアがスゴイとの噂らしい件 （日本語 Japanese Translation) http //vocaloid.blog120.fc2.com/blog-entry-8905.html Tailand Hatsune Miku - รักแท้ยังไง (Miku+MMD+Kinect) http //www.youtube.com/watch?v=qVxC3nnox6Q http //lparadorn.exteen.com/ UK (United Kingdom, イギリス） Miku UK http //www.miku-uk.com/ 公式サイト イギリスのスコットランドで手作りライブの準備の為 人員募集 With special thanks to Crypton Future Media, we will create and perform a Hatsune Miku live Concert in Scotland, UK. https //twitter.com/intent/user?screen_name=MikuUK Official twitter スコットランドでの初音ミク3Dライブを目的とした「Miku-UK Project」 http //vocaloid.blog120.fc2.com/blog-entry-10595.html （日本語訳） (Japanese Translation) WE WANT A VOCALOID LIVE CONCERT IN THE UK!!! One group, one voice, one mission- to bring the Japanese singing sensations, known as the Vocaloids, to the UK. http //www.facebook.com/groups/vocaloidlive/ USA http //www.mikufan.com/ Venezuela Spanish Vocaloid] Hatsune Miku - Ievan Cumbia (Ievan Polkka Latina) http //www.youtube.com/watch?v=FDLcFXiBz2E http //alextripsands.wordpress.com/ Venezuela wiki http //ja.wikipedia.org/wiki/%E3%83%99%E3%83%8D%E3%82%BA%E3%82%A8%E3%83%A9 English vocaRant http //vocarant.blogspot.com/ Hatsune Miku World Tour Signature Site http //mikutour.blog106.fc2.com/ Chat Box http //mikuworldtour.cbox.ws/ 国の人口順リスト - Wikipedia http //ja.wikipedia.org/wiki/%E5%9B%BD%E3%81%AE%E4%BA%BA%E5%8F%A3%E9%A0%86%E3%83%AA%E3%82%B9%E3%83%88 MOMI CUP Momi Cup is a world cup in english, for that everyone canunderstand, and participate. http //momicup.wikispaces.com/Momi+Cup [MMD] MOMI CUP - Top 10 finalists http //www.youtube.com/watch?v=1KNuAlP86w4 Translation of English content into Japanese. 誤訳御免Δ 英語記事の翻訳サイト Goyaku GomenΔ (Sorry if mis-translated) MIKUNOPOLIS 詳細紹介記事 (2人目の赤シャツ氏の紹介他) http //goyaku.blog45.fc2.com/blog-entry-401.html 初音ミク米国初コンサートの海外反応 http //japancool.sblo.jp/article/46529083.html にわかボカロ厨の地図 http //blog.livedoor.jp/niwaka_map/ 何かホログラムの説明とかやってる スペイン語が読めないので http //www.codeanimation.net/2011/12/hatsune-miku-en-discover-channel.html 【初音ミク】 "アコミク" 完成音源ダイジェスト【The39s】2011年12月より発売開始 http //www.nicovideo.jp/watch/sm16040410
https://w.atwiki.jp/saibakho/pages/234.html
#blognavi 2010年1月7日(木)～10日(日)、米ネバダ州ラスベガスにてInternational CES 2010開催 +Nokia N900 5800 Navigation Edition X6 N97 Mini E72 以下、Android Mobile +Motorola Motorola Backflip(Enzo) http //japan.internet.com/allnet/20100104/11.html Status AT T,Reverse flip keyboard Touchscreen 3.1 inch display 320 x 480 (HVGA) Dimensions Camera 5 megapixel camera with LED flash Battery Standby Time Talk Time Processor Qualcomm MSM7201A 528 MHz Internal 512MB Flash, 256MB of RAM, MicroSD Extras WiFi / Bluetooth 2.0 / GPS HSPA/WCDMA Price Opus One Status iDEN PTT PTX, 64k and 128k iDEN SIM card support Touchscreen 3.1″ hVGA 320×480 capacitative touchscreen display Dimensions 58mm in width, 118mm in length, 100g weight Camera 3 megapixel autofocus camera with LED flash Battery Standby Time Talk Time Processor XScale ZEUS Internal/512MB Flash / 256MB of RAM / MicroSD Extras 2.5mm Headset Jack, Wi-Fi, Bluetooth and GPS enabled, Motorola dual-mic technology noise-canceling for noisy enviroments, Flash Lite v3.1.x HSPA/WCDMA Price http //gizmodo.com/5431537/motorola-opus-one-specifications-leak +Google Nexus One Status Touchscreen 3.7-inch (diagonal) widescreen, WVGA AMOLED screen Dimensions 59.8mm in width, 119mm in length, 130g weight Camera 5 megapixel autofocus camera with LED flash Battery 1400 mAH Standby Time Talk Time Processor QUALCOMM QSD 8250, 1GHz Internal/512MB Flash / 256MB of RAM / MicroSD Extras HSPA/WCDMA Price http //www.google.com/phone +Sony Ericsson Sony Ericsson Xperia X10 Rachael ---2010 Status Rumored Touchscreen 4-inch/854×480 Full Touchscreen Dimensions Uknown Camera 8MP w/ Flash and AutoFocus Battery Unknown Standby Time Unknown Talk Time Unknown Processor 1GHz Qualcomm Snap Dragon processor Internal/External Memory Unknown Extras Bluetooth and wi-fi enabled Price Unknown +DELL タブレットマシンのコンセプトモデル http //www.computerworld.jp/topics/netbook/171569.html 5インチのタッチスクリーン、カメラ、取り外し可能なバッテリなどを内蔵 +Lenovo LePhone http //shop.lenovo.com/us/landing_pages/products/new-product-showcase http //www.itmedia.co.jp/news/articles/1001/08/news013.html Android 1.6、QualcommのSnapdragonチップ、解像度800×480の3.7インチタッチスクリーン、2台のカメラ（前面と背面に1台ずつ）、2つのバッテリーを搭載。 取り外し可能キーボード付き(ドッキングステーション) +HP smartbook http //k-tai.impress.co.jp/docs/news/20100107_340986.html 1GHzのチップセット「Snapdragon」を搭載 +enTourage enTourage eDGe http //pc.watch.impress.co.jp/docs/news/event/20100106_340761.html 電子ペーパーとAndroid PCを一体化 +Samsung http //ascii.jp/elem/000/000/489/489365/index-2.html Moment with Mobile Digital TV Behold II 3D Navigation Cube +viliv http //plusd.itmedia.co.jp/lifestyle/articles/1001/11/news005.html Viliv P3 Androidに加えてWindows CE 6.0も搭載してデュアルブートが可能 +Inbrics http //plusd.itmedia.co.jp/lifestyle/articles/1001/11/news005.html MID-M1 カテゴリ [news] - trackback- 2009年12月13日 00 27 44 #blognavi
https://w.atwiki.jp/re_incarnation/pages/94.html
RE-INCARNATION RE-COLLECT 2018年12月20日～12月27日 全労済ホール/スペース・ゼロ 【出演者】 馬超孟起（ばちょうもうき）：北村諒 夏侯惇元譲（かこうとんげんじょう）：広瀬友祐 周瑜公瑾（しゅうゆこうきん）：田中良子 劉備玄徳（りゅうびげんとく）：佐久間祐人 張飛益徳（ちょうひえきとく）：村田洋二郎 趙雲子龍（ちょううんしりゅう）：中村誠治郎 孫権仲謀（そんけんちゅうぼう）：宮下雄也 許褚仲康（きょちょ）：椎名鯛造 関羽雲長（かんううんちょう）：佃井皆美 貂 蝉（ちょうせん）：赤澤遼太郎 睚 眦（がいし）：小野健斗 賈詡文和（かくぶんわ）：上田堪大 徐 栄（じょえい）：鐘ヶ江洸 張遼文遠（ちょうりょうぶんえん）：谷口賢志 袁紹本初（えんしょうほんしょ）：萩野崇 袁術公路（えんじゅつこうろ）：塚本拓弥 曹仁子孝（そうじんしこう）：杉山健一 贔 屓（ひき）：平山佳延 荀彧文若（じゅんいくぶんじゃく）：一内侑 楽進文謙（がくしんぶんけん）：竹内諒太 魯粛子敬（ろしゅくしけい）：平野雅史 劉協伯和（りゅうきょうはくわ）：本間健大 于禁文則（うきんぶんそく）：澤田拓郎 顔 良（がんりょう）：書川勇輝 関 平（かんぺい）：石井寛人 曹操孟徳（そうそうもうとく）：西田大輔 董卓仲穎（とうたくちゅうえい）：松田賢二 夏侯恩子雲（かこうおんしうん）他：斎藤洋平 劉岱公山（りゅうたいこうさん）他：西田直樹 陶謙恭祖（とうけんきょうそ）他：秋山皓郎 鮑信允誠（ほうしんいんせい）他：今井直人 孔融文挙（こうゆうぶんきょ）他：和田啓太 王匡公節（おうきょうこうせつ）他：小野原幸一 【スタッフ】 作・演出：西田大輔 舞台監督：清水スミカ 演出部：上村利幸 内藤正弘 舞台美術：乘峯雅寛 照明：大波多秀起 岡崎宗貴 音響：前田規寛（ロア） 今里愛（SFC) 日本有香（SFC) 荒井裕実 藤田沙耶 音楽：てらりすと（和田俊輔・新良エツ子） 衣装：瓢子ちあき 衣装協力：雲出三緒 蛯名彩香 児玉来夢 ヘアメイク：新妻佑子 小川万理子（raftel） 美容協力：STEP BY STEP 宣伝写真：渡邉和弘 宣伝美術：Flyer-ya Webデザイン：まめなり 撮影：Office ENDLESS 協力 アイズ えりオフィス オスカープロモーション ジャパンアクションエンタープライズ シンコーミュージック・エンタテイメント 砂岡事務所 スペースクラフト・エンタテインメント トキエンタテインメント フォーチュレスト ダンデライオン事業部 ホリプロ よしもとクリエイティブ・エージェンシー AND ENDLESS BLUE LABEL JJプロモーション GVM SOS Entertainments プロデューサー：下浦貴敬（Office ENDLESS） 提携公演：全労済ホール/スペース・ゼロ 主催：DisGOONie Office ENDLESS
https://w.atwiki.jp/international_law/pages/32.html
Peremptory norm A peremptory norm (also called jus cogens or ius cogens, Latin for "compelling law") is a fundamental principle of international law which is accepted by the international community of states as a norm from which no derogation is ever permitted. There is no clear agreement regarding precisely which norms are jus cogens nor how a norm reaches that status, but it is generally accepted that jus cogens includes the prohibition of genocide, maritime piracy, slaving in general (to include slavery as well as the slave trade), torture, and wars of aggression and territorial aggrandizement. Status of peremptory norms under international law Unlike ordinary customary law, which has traditionally required consent and allows the alteration of its obligations between states through treaties, peremptory norms cannot be violated by any state "through international treaties or local or special customs or even general customary rules not endowed with the same normative force". Under the Vienna Convention on the Law of Treaties, any treaty that conflicts with a peremptory norm is void.The treaty allows for the emergence of new peremptory norms,but does not specify any peremptory norms. It does mention the prohibition on the threat of use of force and on the use of coercion to conclude an agreement "A treaty is void if, at the time of its conclusion, it conflicts with a peremptory norm of general international law. For the purposes of the present Convention, a peremptory norm of general international law is a norm accepted and recognized by the international community of states as a whole as a norm from which no derogation is permitted and which can be modified only by a subsequent norm of general international law having the same character." The number of peremptory norms is considered limited but not exclusively catalogued. They are not listed or defined by any authoritative body, but arise out of case law and changing social and political attitudes. Generally included are prohibitions on waging aggressive war, crimes against humanity, war crimes, maritime piracy, genocide, apartheid, slavery, and torture. Despite the seemingly clear weight of condemnation of such practices, some critics disagree with the division of international legal norms into a hierarchy. There is also disagreement over how such norms are recognized or established. The relatively new concept of peremptory norms seems to be at odds with the traditionally consensual nature of international law considered necessary to state sovereignty. Some peremptory norms define criminal offences which are considered to be enforceable against not only states, but individuals as well. This has been increasingly accepted since the Nuremberg Trials (the first enforcement in world history of international norms upon individuals) and now might be considered uncontroversial. However, the language of peremptory norms was not used in connection with these trials - rather the basis of criminalisation and punishment of Nazi atrocities was that civilisation could not tolerate their being ignored, because it could not survive their being repeated. There are often disagreements over whether a particular case violates a peremptory norm. As in other areas of law, states generally reserve the right to interpret the concept for themselves. Examples Execution of juvenile offenders The case of Michael Domingues v. United States provides an example of an international body s opinion that a particular norm is of a jus cogens nature. Michael Domingues had been convicted and sentenced to death in Nevada, United States for two murders committed when he was 16 years old. Domingues brought the case in front of the Inter-American Commission of Human Rights which delivered a non-legally binding report.The United States argued that there was no jus cogens norm that "establishes eighteen years as the minimum age at which an offender can receive a sentence of death".The Commission concluded that there was a "jus cogens norm not to impose capital punishment on individuals who committed their crimes when they had not yet reached 18 years of age."The United States has subsequently banned the execution of juvenile offenders, although not necessarily in response to the above non-binding report (Roper v. Simmons). Torture The International Criminal Tribunal for the Former Yugoslavia stated in Prosecutor v. Furundžija that there is a jus cogens for the prohibition against torture.It also stated that every State is entitled "to investigate, prosecute and punish or extradite individuals accused of torture, who are present in a territory under its jurisdiction."Therefore, there is universal jurisdiction over torture. The rationale for this is that "the torturer has become, like the pirate and the slave trader before him, hostis humani generis, an enemy of all mankind."Further to this, there is no allowance for states to make reservations to the Convention for the Prevention and Punishment of Torture, and the Convention is considered to bind all states, not just those party to it.
https://w.atwiki.jp/re_incarnation/pages/12.html
office ENDLESS Produce vol.9 RE-INCARNATION 初演 2012年2月10日～2月19日 全労済ホール/スペース・ゼロ 【出演者】 諸葛亮孔明（しょかつりょうこうめい）：米倉利紀 趙雲子龍（ちょううんしりゅう）：中村誠治郎 張郃儁乂（ちょうこうしゅんがい）：田中良子 夏侯惇元譲（かこうとんげんじょう）：広瀬友祐 劉備玄徳（りゅうびげんとく）：佐久間祐人 夏侯淵妙才（かこうえんみょうさい）：サントス・アンナ 甘夫人（かんふじん）：甲斐まり恵 張飛益徳（ちょうひえきとく）：村田洋二郎 黄忠漢升（こうちゅうかんしょう）：赤塚篤紀 虫 夏（はか）：猪狩敦子 許褚仲康（きょちょ）：椎名鯛造 張遼文遠（ちょうりょうぶんえん）：谷口賢志 劉表景升（りゅうひょうけいしょう）：塚本拓弥 曹仁子孝（そうじんしこう）：杉山健一 楽進文謙（がくしんぶんけん）：竹内諒太 荀彧文若（じゅんいくぶんじゃく）：一内侑 魯粛子敬（ろしゅくしけい）：平野雅史 龐徳令明（ほうとくれいめい）：永島真之介 周 倉（しゅうそう）：石井寛人 李典曼成（りてんまんせい）：梅澤良太 蒯越異度（かいえついど）：青木友成 文聘仲業（ぶんぺいちゅうぎょう）：石田達郎 曹休分烈（そうきゅうぶんれつ）：市森隼 曹洪子廉（そうこうしれん）：桑田裕介 于禁文則（うきんぶんそく）：澤田拓郎 曹純子和（そうじゅんしわ）：内田悠一 関 平（かんぺい）：中代雄樹 夏侯恩子雲（かこうおんしうん）：尾関俊和 蔡瑁徳珪（さいぼうとくけい）：本間健大 曹操孟徳（そうそうもうとく）：西田大輔 【スタッフ】 脚本･演出：西田大輔 舞台監督：清水スミカ 舞台美術：角田知穂 照明：大波多 秀起（デイライト） 音響：前田規寛（M.S.W.） 音楽：和田俊輔（てらりすと） 衣装：瓢子ちあき ヘアメイク：新妻佑子 美容協力：STEP BY STEP 宣伝美術：Flyer-ya Webデザイン：まめなり 相川秀樹 撮影：カラーズイマジネーション 協力 AND ENDLESS bamboo bpm Revifront Artist Management SOS Entertainments sTYle72 inc 大沢事務所 エースクルー・エンタテインメント オスカー スペースクラフト・エンタテインメント センスアップ メインキャスト 礼泉堂 プロデューサー：下浦貴敬（Office ENDLESS ） 三角大（ダイス） 提携公演：全労済ホール/スペース・ゼロ 共催：ダイス 主催：Office ENDLESS
https://w.atwiki.jp/conlang_arka/
Arka is an a priori conlang (naturalistic artlang to be exact) with more than 15,000 words and its own conworld. It started in 1991 in Japan. It is known among conlangers in Japan but is little known abroad because sites on Arka are written in Japanese. We hope you will be interested in this language. It would be very helpful if anyone would inscribe Arka on a list of conlangs. Here is the official site in Enlgish (under construction). Please visit this site first. Introduction First of all, please watch an introduction anime of Arka and an introduction video of Arka in English(FLASH. 3.2 MByte). Features A priori vocabulary (more than 15,000 words) Detailed descriptions of basic words Online dictionary (Arka-Japanese dictionary) Etymological note(s) on every single word in its dictionary Unique characters and various fonts Literary and artistic expressions Affluent synonyms A constructed world (conworld) which was made for Arka Constructed cultures (concultures) associated with Arka Myth and history which are related to the conworld and etymologies of words Lexicon which reflects historical changes Influence from foreign languages Detailed notes on the conworld Instructional texts of Arka on the web Book of Xion , a novel where a high school girl summoned from Japan learns Arka Melidia , a novel written in Arka Calendar and almanac 366 colors related to the calendar (xistina) Usages of words based on linguistics A priori usages of words Complete grammar as if Arka were a natural language Games (Avelantis, a shooter game, for instance) Manga and anime Textbook with sound Constellations (The stars are from 100 constellations in this world) Philosophical thoughts Magic theory Paintings Musics Clothes Notes If you google for jinkougengo (人工言語) in kanji, you will find Arka on the page 1 (google Japan). We just want you to know it exists, so this site is not a textbook of Arka. What learners say is not always correct, so please do not ask them. You can only trust the following sites. The official site of Arka Arka-Japanese dictionary (The character code of Arka-Japanese dictionary is UTF-8) Conlinguistics Association(the association for conlinguistics) How to Make a Conlang (A website which tells "what a conlang is" and "how to make a conlang" in Japanese) Conlinguistics(A website which tells "the history of conlangs" in Japanese) First Guide to Esperanto (A beginners guide to Esperanto in dialogue) Japanese Edition .
https://w.atwiki.jp/re_incarnation/pages/16.html
office ENDLESS Produce vol.20 RE-INCARNATION RE-SOLVE 2015年12月24日～12月29日 全労済ホール/スペース・ゼロ 2016年1月9日～1月10日 サンケイホールブリーゼ 2016年1月14日～1月18日 シアター1010 【出演者】 曹操孟徳（そうそうもうとく）：西田大輔 袁紹本初（えんしょうほんしょ）：萩野崇 張遼文遠（ちょうりょうぶんえん）：谷口賢志 曹仁子孝（そうじんしこう）：杉山健一 典 韋（てんい）：小瀬田麻由 楽進文謙（がくしんぶんけん）：竹内諒太 荀彧文若（じゅんいくぶんじゃく）：一内侑 于禁文則（うきんぶんそく）：澤田拓郎 張郃儁乂（ちょうこうしゅんがい）：新田健太 文醜（ぶんしゅう）：青木空夢 顔良（がんりょう）：書川勇輝 沮授（そじゅ）：三上竜平 田豊（でんほう）：福場俊策 劉備玄徳（りゅうびげんとく）：佐久間祐人 関羽雲長（かんううんちょう）：佃井皆美 張飛益徳（ちょうひえきとく）：村田洋二郎 馬超孟起（ばちょうもうき）：北村諒 孫策伯符（そんさくはくふ）：伊阪達也 周瑜公瑾（しゅうゆこうきん）：田中良子 魯粛子敬（ろしゅくしけい）：平野雅史 袁術公路（えんじゅつこうろ）：塚本拓弥 黄忠漢升（こうちゅうかんしょう）：赤塚篤紀 劉協伯和（りゅうきょうはくわ）：本間健大 螭 吻（ちふん）：林田航平 虫 夏（はか）：猪狩敦子 関 平（かんぺい）他：石井寛人 李典曼成（りてんまんせい）他：田嶋悠理 夏侯恩子雲（かこうおんしうん）他：斎藤洋平 逢紀元図（ほうきげんず）他：藤田峻輔 宋憲（そうけん）他：谷昌弥 曹純子和（そうじゅんしわ）他：小島和幸 魏続（ぎぞく）他：黒澤俊一 郭図公則（かくとこうそく）他：今井直人 【スタッフ】 作・演出：西田大輔 音楽：和田俊輔 劇中歌歌唱：新良エツ子 舞台監督：清水スミカ 舞台美術：乘峯雅寛 照明：大波多秀起 岡崎宗貴 音響：前田規寛（S.S.E.D） サンプラー：松本竜一 特殊効果：インパクト 演出助手：佐久間祐人 梅澤良太 衣装：瓢子ちあき 衣装協力：松浦美幸 雲出三緒 ヘアメイク：新妻佑子小川万理子（raftel） 美容協力：STEP BY STEP 宣伝美術：Flyer-ya グッズデザイン：Gene Fred Webデザイン：まめなり 収録：アズボンド 宣伝映像：カラーズイマジネーション 運搬：マイド 協力 アイズ えりオフィス グロリアスクリエーションズ きずなステーション ジャパンアクションエンタープライズ スペースクラフト・エンタテインメント ダンデライオン てらりすと 長良プロダクション ニューカム ネネネレコード フィットワン ホワイトドリーム メインキャスト BACSエンターテイメント MSエンタテインメント SOS Entertainments 制作協力：ディスグーニー イープラス プロデューサー：下浦貴敬 企画・製作／Office ENDLESS 提携：全労済ホール/スペース・ゼロ（東京2015公演） 主催：Office ENDLESS（東京2015・2016公演） サンケイホールブリーゼ Office ENDLESS（大阪公演）
https://w.atwiki.jp/testlink/pages/35.html
!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "DTD/xhtml1-transitional.dtd" !-- Japanese Translated by Testing Engineer s Forum (TEF) in Japan, Working Group of TestLink Japanese Translation Project -- html xmlns="http //www.w3.org/1999/xhtml" lang="jp" head !--20070421 - franciscom - using basehref smarty var to build right URLs BUGID 93 - 20050910 - fm--- meta http-equiv="Content-Type" content="text/html; charset=UTF-8" / meta http-equiv="Content-language" content="jp" / meta name="author" content="Martin Havlat" / meta name="copyright" content="GNU" / meta name="robots" content="NOFOLLOW" / title TestLink Help Content /title link rel="stylesheet" type="text/css" href="{$basehref}{$smarty.const.TL_THEME_CSS_DIR}tl_docs.css" / /head body {assign var="dummy" value="lib/general/show_help.php?locale=$locale help="}{assign var="help_launcher" value="$basehref$dummy"} h1 Help 目次 /h1 div id="menu" a href="javascript window.close();" class="tlButton" 閉じる /a a href="javascript history.back();" class="tlButton" 戻る /a /div ul li a href="{$help_launcher}glosary" 用語集 /a /li li a href="{$help_launcher}testproject" テストプロジェクト /a /li li a href="{$help_launcher}metrics" 結果とメトリクス /a /li li a href="{$help_launcher}shortcuts" ショートカット /a /li li a href="{$help_launcher}execMain" テスト実行 /a /li li a href="{$help_launcher}execFilter" テスト実行 - フィルター /a /li li a href="{$help_launcher}printFilter" テスト仕様フィルター /a /li li a href="{$help_launcher}testPlan" テスト計画 /a /li li a href="{$help_launcher}userRights" ユーザ権限 /a /li /ul h1 Instruction pages /h1 ul li a href="{$help_launcher}keywordsAssign" キーワード割り当て /a /li li a href="{$help_launcher}executeTest" テスト実行 /a /li li a href="{$help_launcher}planTesters" テスト計画 - テスター追加 /a /li li a href="{$help_launcher}planAddTC" テスト計画 - テストスイートにテストケース追加 /a /li li a href="{$help_launcher}planOwnerAndPriority" テスト計画 - 優先度 /a /li li a href="{$help_launcher}testSetRemove" テスト計画 - テストスイートからテストケース削除 /a /li li a href="{$help_launcher}planOwnerAndPriority" テスト計画 - 所有権 /a /li li a href="{$help_launcher}browseResults" テストレポートとメトリクス /a /li li a href="{$help_launcher}tcEdit" テスト仕様 - 編集 /a /li li a href="{$help_launcher}tcPrint" テスト仕様 - 印刷 /a /li li a href="{$help_launcher}tcSearch" テスト仕様 - 検索 /a /li /ul /body /html
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.