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https://w.atwiki.jp/reiju/
H. Reiju Mihara, A Normative Economist H. Reiju Mihara, Summer 2006 H. Reiju Mihara, who has an Erdos number of 3 (via Erdos to A. L. Rubin to N. Brunner), is one of the four voting theorists (along with Condorcet, Borda, and Arrow) referred to in an article in The Why Files, a science education site founded as a project of the National Institute for Science Education. Mihara s works have been cited in books on various subjects, including social choice theory, mathematics, history of economics (cybernetics), and philosophy of science. Here is an example. Apparently, he needs more! Note Provided that you reasonably respect my rights, you are encouraged to make references and links to these pages (http //w.atwiki.jp/reiju/ and below). Some characters on this page will not appear correctly if your system cannot handle Japanese properly. In that case, just ignore them. (Even if they appear correctly, they are not likely to make sense to you unless you can read Japanese.) [リンクは大歓迎．] My previous site (http //www.cc.kagawa-u.ac.jp/~reiju/) has moved to the current site as well as an archive site (the latter consists mainly of pages not likely to be updated). Go to the front page (in Japanese; 日本語) [三原麗珠の日本語ページ; エッセイ，自己紹介，開設科目，開発教材，研究のためのリソースなど] Research Interests Fields Social Choice, Cooperative Game Theory, Mechanism Design, Economic Theory, Microeconomics, Normative Economics. Keywords Arrow's impossibility theorem, Turing computability, rank aggregation, simple games, Nakamura number. FAQs (research) answers some questions about Arrow s Theorem. You can find a precise statement of the theorem and a brief proof, too. When I m asked what my specialization is, I usually answer normative economics ---an area of economics (?) concerned with value judgments ("what is good?" or "what should be done?"). Since economics has "officially" been a value-free science (that is, it avoids value judgments), normative economics has conventionally adopted a certain trick. Instead of saying that a certain policy is good, it used to say "if your goal is such and such (this part contains value-judgments), then this policy works." Well...fine. But can economics really be value-free? Is it really important to be so? The fact is that in the conventional normative economics (usually called "welfare economics"), the "if" part (a performance criterion) has almost always been concerned with efficiency. (Economists say a certain situations "efficient" or "Pareto-optimal" if there is no alternative situation that is preferred by everybody.) Maybe we d better consider other criteria, too. Fortunately, social choice theory (or its descendant), traditionally a minor area in economics(?), offers many different criteria. These criteria include (i) whether the society treats individuals equally, (ii) whether information available in the society is efficiently used, (iii) whether the society adopts rules likely to be followed by many people (doesn t the society ignore individuals incentives to exploit the rules?), (iv) whether the society respects individual s freedom of choice? Choosing from these and other performance criteria, or deciding what criteria to emphasize, is an activity that cannot always be value-free. As I understand, normative economics (i) recognizes the impossibility of a value-free social science, but (ii) does not particularly view this impossibility negatively, and (iii) even positively gets involved with value judgments. Normative economics belongs to the intersection of several disciplines---including ethics and economics. Most of my work, however, is (and will probably be) rather mathematical, reflecting my training in Minnesota as an economic theorist. In particular, I adopt an axiomatic approach extensively used in social choice. My current research is concerned about information processing in social choice. Though it may not sound particularly normative, its intellectual background dates back to the debate on the possibility of socialism. In the debate, F.A. Hayek insisted that socialism would not work since it could not efficiently make use of dispersed information available to individuals. Although I do not think that is the most important reason for the failure of socialism, I think it is an important one. I applied theory of computation to examine possibility of centralized decision making. Academic Works Go to the page on researchmap. Presentations and Course Materials Invitation to a Course in Game Theory, Kagawa University. A three-minute talk based on an announcement made to a group of English speaking students at the University in June 2015. "Arrow s Impossibility Theorem and ways out of the impossibility" gives a ten-minute introduction to social choice theory. It also touches on some recent developments "King Solomon s Dilemma A simple solution" analyzes the Judgment of Solomon in the Old Testament. (My YouTube debut) Young 1994 Materials. A set of lecture notes for courses based on H. Peyton Young, Equity In Theory and Practice (Princeton University Press, Princeton, 1994). In the past, I got requests from the former political prisoner Marek Kaminski as well as the author H. P. Young. (You may also want to check, for example, Tayfun Sonmez s Game Theory, Lectures 11-14.) H. Reiju Mihara, Kagawa University Library 三原麗珠 香川大学 図書館
https://w.atwiki.jp/tsukamaroeg/
one of the suspects About this site A thirteen years old boy died in Otsu Shiga-pri Japan last year. The boy s body found on a ground in a building where he and his family lived. He had been severely tortured several years in his school before his death. The authority has closed this case as suicide despite of witnesses. Recently a lot cover-ups have been found. Our aims are total disclosure and justice. This site needs your help to improve. English native check is most welcome. This page is basically translated from this original page. http //www48.atwiki.jp/tukamarosiga/ 編集制限はかけていないので誰でもページの追加・編集ができます （決して改ざんなどはしないこと）。 新しい情報を見つけた場合は、ページの追加・編集をお願いします。 What is happening? The whole city is trying to cover up this truly horrifying case. The suspects are sons of powerful figures in town. The victim’s father requested investigation three times at the local police but all refused. It is said one of the bully’s relative is an ex-high ranking police officer. Last few days netizens in Japan started self-investigations and found a lot cover-ups and terrible stories which media did not release. What did the suspects do to the victem? according to some questionnaire answers from other students after his death; suicide practice jumping from height, suicide practice by himself, make him eat a dead wasp , threatened to withdraw cash from his parent’s account and they used it, show him dead body pictures and asked him if he wants to be like this, forced to do shoplifting then threatened reporting this to the police, constantly assaulted, used sleeping drug and left him in a park naked, forced to do masturbation to ejaculation in naked, burnt his pubic hair using a lighter they call it “today’s hair cut”, put chili on his penis and laugh , pull down his pants and laugh, tortured in a group at a school athletic festival, urinate on his gym uniform and said to him “You stink”, put spit, sputum and trash in his launch, they pictured the act and enjoy watching, upload these pics on the net and let him know, forced to drink dirty water used to extinguish fireworks, duct taped on his mouth and tortured, tie him up on a chair and tortured, forced to eat paper There are many horrible stories even after his death. We ll up date this. Media 2012/July/08 【ABCNews】Kids and Laughing Teachers Bullied Suicide Teen http //abcnews.go.com/blogs/headlines/2012/07/kids-and-laughing-teachers-bullied-suicide-teen/ 【Mainich】 http //mainichi.jp/english/english/perspectives/news/20120705p2a00m0na005000c.html
https://w.atwiki.jp/touhoukashi/pages/303.html
【登録タグ D EUROBEAT HOLIC IV SOUND HOLIC aki 曲 月時計 ～ ルナ・ダイアル 紅 -KURENAI-】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; 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} /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; 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https://w.atwiki.jp/testlink/pages/58.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 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 Instructions /title style media="all" type="text/css" @import "../../{$smarty.const.TL_THEME_CSS_DIR}testlink.css"; /style script type="text/javascript" src="../../javascript/testlink_library.js" /script /head body div class="workBack" h1 テストケースの編集とアーカイブ /h1 h2 目的 /h2 p span class="help" onclick="javascript open_popup( ./glosary.html#testspec );" テスト仕様 /span は、存在する span class="help" onclick="javascript open_popup( ./glosary.html#testproject );" Test project /span , テストスイート、 span class="help" onclick="javascript open_popup( ./glosary.html#testcase );" テストケース /span の情報を閲覧したり変更したりする場所です。異なるバージョンのテストケースを見ることもできます。 /p h2 やってみましょう！： /h2 ol li ナビゲーションシーンのテストプロジェクト名を選択します。 /li li 新しいテストスイートとテストケースを作成します。(テストプロジェクト右上端に在る、テストプロジェクトの選択で選ぶことができます。) /li li 左側に在るツリーをたどって、データを修正していきます。 /li li テストケースの準備ができているとき、 span class="help" onclick="javascript open_popup( ./glosary.html#testplan );" テスト計画 /span に作られた仕様を割り当てます /ol p TestLinkはテストケースをNレベルのテストスイートに作りこんでいきます。テストスイートの内容を記述することができます。この情報は、テストケースと一緒に印刷することもできます。 /p /div /body /html
https://w.atwiki.jp/mrfrtech/pages/50.html
Market Scenario The worldwide Mixed Reality Market Companies size is assumed to develop at least 43.28% CAGR. The vast expansion of Mixed Reality Market Companies size is the rising investments in various innovations. The term Mixed Reality Market Companies refers to a concentrated market that includes various major business organizations worldwide. The Mixed Reality Market Companies is the merging of virtual and real worlds that are established to develop new environments and visualizations in which physical and digital objects and their information can interact and co-exist. The Mixed Reality Market Companies displays various images on semi-transparent materials and uses a projector. After that, the photos get reflected in the human eye with the assistance of extensive beam-splitting techniques. The consumer demand for Mixed Reality Market Companies is predicted to observe substantial growth over the projected period. Throughout the study era, North America was projected to dominate the mixed-reality industry led by Europe. Market development is driven by the relatively high acceptance of mixed reality products in North America and the introduction of innovative mixed reality devices by primary players in this market. The virtual reality market is strongly affected by the growing demand for AR / VR head-mounted displays in the gaming and entertainment industry and app creation as well as hardware modules for immersive user experience. Conversely, the limited battery life and image latency issues in mixed reality devices can disrupt market growth. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/1766 Competitive Outlook Sony Corporation, Accenture PLC, Facebook Inc., HTC Corporation, Microsoft Corporation, Seiko Epson Corporation, Google LLC, Magic Leap, Inc, Intel Corporation, and Samsung Electronics Co., Ltd are key players of the global Mixed Reality Market Companies. Segmentation Hardware that includes processors, sensors, displays, input devices, power units, and software. Software includes Custom Software and Out-of-Box Software The hardware segment in the research study is expected to dominate the market during the forecast period owing to a rise in the number of mixed reality hardware. Regional Analysis Mixed Reality Market Companies, by region, has been segmented into Asia-Pacific, North America, Europe, and the Middle East Africa, and South America. In North America, increasing penetration of AR VR devices for mixed reality devices is fueling the market growth of the Mixed Reality Market Companies. Furthermore, the presence of key players such as Microsoft Corporation, Intel Corporation, Magic Leap, Inc., and Google, Inc. are expected to fuel the among market growth in this region. The US dominates the market in North America followed by Canada. Asia-Pacific is expected to hold a significant share in the market. Japan is expected to dominate the Asia-Pacific Mixed Reality Market Companies, followed by China, during the forecast period. North America has been anticipated to lead the Mixed Reality Market Companies during the study period, followed by Europe. Significantly high adoption of mixed reality products in North America and the launch of advanced mixed reality products by key players in this region are contributing to the market growth. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/mixed-reality-market-1766 Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure List of Tables Table1 North America Mixed Reality Market Companies, By Country Table2 North America Mixed Reality Market Companies, By Component Table3 North America Mixed Reality Market Companies, By Product Continued… List of Figures FIGURE 1 Global Mixed Reality Segmentation FIGURE 2 Forecast Methodology FIGURE 3 Porter’s Five Forces Analysis Of Global Mixed Reality Market Companies Continued… Similar Report** Content Delivery Network Market 5G Base Station Market https //ict268262635.wordpress.com/2022/04/06/b2b-telecommunication-market-major-application-third-party-usage-micro-market-pricing-analysis-and-geographical-analysis-forecast-to-2030/ https //ict268262635.wordpress.com/2022/04/06/digital-payment-in-healthcare-market-major-application-third-party-usage-micro-market-pricing-analysis-and-geographical-analysis-forecast-to-2030/ About Market Research Future Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. The best part is they know their work inside out and possess the expertise to guide the client in the right direction and achieve results on a tight deadline. We are a one-stop solution for all your data research needs. Our team does not believe in the “one size fits all” approach to creating a report that is detailed and concise. We handle 13 industry verticals including Healthcare, Chemicals and Materials, Information and Communications Technology, Semiconductor and Electronics, Energy and Power, Food, Beverages Nutrition, Automobile, Consumer and Retail, Aerospace and Defense, Industrial Automation and Equipment, Packaging Transport, Construction, and Agriculture. With our unique approach for every market report, we aim to reach the zenith in qualitative business intelligence and syndicated market research. 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 #market #research #industry #data #report #share #digital #gnews Plugin Error キーワードを入力してください。 #trend #future #analyis #industryreport #industrygrowth #demographic #strategy #manegment
https://w.atwiki.jp/api_programming/pages/104.html
下位ページ Content HTTP通信文字化けが起きた パラメータの出力 レスポンスの「確認」 basic 認証 HTTP通信 接続先のURLへ情報を送信し、結果を保存する - @IT java.net.URL HttpURLConnection URLのインスタンスを作成。ここで接続先を指定する。 URLのインスタンスのopenConnectionで接続HttpURLConnectionを作成 パラメータはOutputStreamで出力するJavaによるHTTPリクエスト時のパラメータの渡し方 getResponceMessage()でレスポンスのボディを受け取る disconnect()で通信終了 URL url = new URL(strURL); HttpURLConnection con = (HttpURLConnection)url.openConnection(); connection.setDoOutput(true); connection.setUseCashes(false); connection.setRequestMethod("POST"); // 通信方法にPOSTを指定 // パラメータ送信 OutputStream os = uc.getOutputStream(); // POST用のOutputStreamを取得 PrintStream ps = new PrintStream(os); String postStr = "a=1 b=2 c=3"; ps.print(postStr);// データをPOSTする ps.close(); // 受信 InputStream is = uc.getInputStream(); // POSTした結果を取得 BufferedReader reader = new BufferedReader(new InputStreamReader(is)); String s; while ((s = reader.readLine()) != null) { System.out.println(s); reader.close(); uc.disconnect(); } 文字化けが起きた しばらく何事もなかったのに、Toodledoで新しいタスクを作成する処理を行っているときに、iPhone経由でのタスク登録にて文字化けが発生。（iPhone以外では、日本語のタスクを作成しなかった、とかではないと思うが。。。） アラートで表示 OK サーバでの受取での表示 OK Toodledo での受取 NG なので、servlet→toodledoの送信でだめ？っぽい。 文字コードをセットできる場所として PrintStream 生成時に UTF-8 を追加 [[PrintStream(java.io.OutputStream, boolean, java.lang.String) https //docs.oracle.com/javase/jp/6/api/java/io/PrintStream.html#PrintStream(java.io.OutputStream, boolean, java.lang.String)]] で、正常動作（文字化け回避）になった。 パラメータの出力 パラメータはOutputStreamで出力する (HttpURLConnection).getOutputStream でもOutputStreamはバイト文字列で表記とか、使いづらい。 当初、PrintWriterクラスを使っていたが、日本語を使う必要が出た際に、文字化けで詰まったので、 OutputStreamWriterクラスを使うようにした。 OutputStreamWriter osw = new OutputStreamWriter(connection.gerOutputStream(),"UTF-8"); osw.write(str); osw.close(); OutputStreamWriter PrintWriterを使うのが便利。 JavaによるHTTPリクエスト時のパラメータの渡し方 レスポンスの「確認」 System.err.println(httpcon.getResponseCode()) // 戻り値はint System.err.println(httpcon.getResponseMessage()) getResponseCode() getResponseMessage() HTTPステータスコード - Wikipedia basic 認証 http //x68000.q-e-d.net/~68user/net/java-http-url-connection-2.html https //developer.android.com/reference/android/util/Base64.html http //www.programing-style.com/android/android-api/android-basic-authentication/ 正式な？方法があるらしいが、代替的な方法で、client_id と client_secret をパラメータとして渡す方法もあるらしい。
https://w.atwiki.jp/mrfrtech/pages/111.html
Content Delivery Network Industry Insight The fast uptake and development of a content delivery network are progressively becoming a crucial component of any enterprise. Market Research Future predicts the potentiality of the global Content Delivery Network Industry 2020. It can achieve a high valuation by the year 2023. Such a high valuation will garner at a growth rate of 26.5% in the forecast years (2018 to 2024). The market expansion can be accredited to the escalating volumes of content being exchanged over the internet in line with the continued rapid network rollouts. Effective so lutions would be needed to ensure uninterrupted content delivery over a high-speed data network, mainly to cater to the growing demand for Video-on-Demand (VOD) and Over the Top (OTT) services. In fact, plummeting data costs coupled with rising affordability and accessibility of broadband and mobile network access are some of the other foremost factors anticipated to motivate the demand for content delivery network solutions. Request a Free Sample @ https //www.marketresearchfuture.com/reports/content-delivery-network-market-2796 Top Market Contenders The top market players of global CDN market are listed as Limelight Networks Inc. (US), Akamai Technologies Inc. (US), Tata Communications Ltd (India), CenturyLink (US), StackPath, LLC (US), Fastly Inc (US), Verizon Communications Inc. (US), CDNetworks Co. Ltd (South Korea), AT T Inc. (US), Amazon.com Inc. (US) and Comcast Corporation (US). Market Analysis MRFR also spotlights on the fact that the e-commerce industry is sprouting continuously in line with shifting consumer behavior. As such, CDN solutions are employed to ensure that consumers have access to all the content necessary to make an informed buying decision. CDN solutions are also employed aggressively to optimize delivery as consumers shift from conventional television to video content delivery. At the same time, the performance of digital solutions based on an IoT network across various industries is also prompting content delivery network providers to introduce customized industry-specific content delivery network solutions. The mounting adoption of advanced technologies, such as artificial intelligence (AI) and augmented reality (AR), are also opening opportunities to launch innovative content delivery network solutions in the future. All these factors are ready to contribute to the global content delivery network market in the forecast period. Furthermore, in countries, such as India and China, the fame of online gaming and the preference for digital marketing is escalating. The advances in technology, coupled with the rollout of smart cities and 4G network rollouts, are also encouraging opportunities to come into the market. On this line, large access providers and platform companies are pursuing integration initiatives to withstand the intense competition globally. As such, companies offering technology solutions are moving into content market space. The mounting population, coupled with the advent of new network technologies, is also motivating content consumption and content delivery network. The digitization of the media entertainment industry is particularly driving market growth to a great extent. Segmentation of Market Content Delivery Solutions The global content delivery solutions market has further been studied among segmentation, including segments of type, solutions, application, service providers, and vertical. By the segment of type, the market has included a standard content delivery network, video content delivery network. By the segment of solutions, the market has included media delivery, web performance optimization, and cloud security. By the segment of the application, the market has included network optimization, OTT streaming, analytics performance monitoring, and website API management. By the segment of service providers, the market has included traditional content delivery networks, Telco content delivery networks,, and cloud services providers. By the segment of vertical, the market has included retail e-commerce, media entertainment, BFSI, gaming, IT telecommunication, education, and others. Regional Outlook North America, Europe, Asia-Pacific, and the rest of the world are the key regions mentioned in the global content delivery solutions market’s regional analysis. Among these regions, the North American region is anticipated to lead the content delivery network market during the study period. The early adoption of IoT technology and smart devices such as Smartphones and smart TV in North America are some of the factors motivating the growth of the regional market. Furthermore, the incidence of technology leaders such as Verizon Digital Media, Amazon Web Services, Akamai Technologies Inc., and CenturyLink is likely to contribute to the growth of the content delivery network market in the region. The US, after Canada, leads the market in North America. The market in Asia-Pacific is also anticipated to occupy a significant share where China is likely to lead the market. Europe trails North America in the global content delivery network market. The Asia Pacific is forecasted to outpace all other regions by growth owing to enhancements in technology in emerging countries of the region. Table of Content 1 Executive Summary 1.1 Market Attractiveness Analysis 17 1.1.1 Global Content Delivery Network Market, By Type 17 1.1.2 Global Content Delivery Network Market, By Solutions 18 1.1.3 Global Content Delivery Network Market, By Application 19 1.1.4 Global Content Delivery Network Market, By Service Providers 20 1.1.5 Global Content Delivery Network Market, By Vertical 21 1.2 Global Content Delivery Network Market, By Region 22 Continued…. List of Tables Table 1 List of Assumptions 29 Table 2 Regional Data Transfer Out to Internet (Per Gb) 39 Table 3 Request Pricing for All Http Methods (Per 10,000) 40 Table 4 Global Content Delivery Network Market, By Type, 2020–2027 (Usd Million) 45 Table 5 Global Content Delivery Network Market, By Video Content Delivery Network, 2020–2027 (Usd Million) 47 Continued…. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/content-delivery-network-market-2796 List of Figures Figure 1 Market Synopsis 16 Figure 2 Market Attractiveness Analysis Global Content Delivery Network Market 17 Figure 3 Global Content Delivery Network Market Analysis By Type, 2020 (%) 17 Figure 4 Global Content Delivery Network Market Analysis By Solutions, 2020 (%) 18 Figure 5 Global Content Delivery Network Market Analysis By Application, 2020 (%) 19 Continued…. 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DaVinci Resolve DaVinci Resolve 18 プロジェクト設定 MrAlexTechSeamless トランジションパック ファイル名 MrAlexTechSeamless MrAlexTechSeamless説明 D \Program\Blackmagic Design\DaVinci Resolve OpenCL 01 .dll After Effects Free 素材 [After Effects Free 素材 https //www.premiumbeat.com/blog/category/after-effects/] 単色背景を作りたい！２パターン紹介 https //start-fromscratch.com/blog/davinciresolve-background/ 動画編集 1回 メディアページ編 https //tokyohappendix.com/editing-tips/dr_mediapage DaVinci Resolve 16 データベースの保存場所 https //furutao.com/blog/2019/11/24/davinci-resolve-01-where-db-files/ DaVinci Resolve17のプロジェクトの保存先 https //oiuy.net/archives/9719 DaVinci Resolveのプロジェクトファイルの保存先 https //sumizoon.hatenablog.com/entry/2019/06/11/200601 DaVinci Resolveでプロジェクトファイルを受け渡す2つの方法 https //vook.vc/n/2149 DaVinci Resolve 無償で高機能な動画編集ソフトについて https //www.pc-koubou.jp/magazine/37640 OBSのシーントランジション設定でカッコよく画面を切り替える方法 https //shifa-channel.com/obs-transition/ Streamlabs OBSでソースを追加・編集して、画面を映す方法 https //vip-jikkyo.net/slobs-sources トランジション素材を自作して設定する方法。スティンガーに透過付き動画を登録して配信演出を付けよう https //arutora.com/21798 DaVinci ResolveをめぐるトラブルシューティングFAQまとめ https //vook.vc/n/1697 【Davinci Resolve 16】対応ファイル形式一覧！読み込めないファイルはどうすれば？ https //aketama.work/dr16-file-type AllTemplates shared by sean ファイル https //www.mediafire.com/folder/0wh5oa8ll1b2c/AllTemplates お荷物のサイズとお届け先の都道府県 https //form.008008.jp/mitumori/PKZI0100Action_doSearch.action 白色のペンキ ターナー色彩 アクリル絵具 ミルクペイント スノーホワイト ニスが塗ってある机に対する接着剤 ターナー色彩 メディウム ミルクペイント マルチプライマー 200ml 仕上げ用のニス 和信ペイント 水性ウレタンニス 屋内木部用 高品質・高耐久・食品衛生法適合 透明クリヤー 130ml コテバケ ハンディ・クラウン INNOVA ワンタッチコテバケ セット 150 osu!をインストールしてプレイするまでの手順（導入方法） http //game2ji.com/osu-install/ ナレッジベース https //osu.ppy.sh/wiki/ja/Installation Aeron Chairs ハーマンミラーストア 編集の概要 https //downloads.blackmagicdesign.com/products/davinciresolve/training/jp/DaVinci-Resolve-15-Introduction-to-Editing.zip 技術 https //downloads.blackmagicdesign.com/products/davinciresolve/training/jp/DaVinci-Resolve-15-The-Art-of-Color-Grading.zip Mini Panel https //downloads.blackmagicdesign.com/products/davinciresolve/training/DaVinci-Resolve-15-DaVinci-Resolve-Mini-Panel.zip グラフィック https //downloads.blackmagicdesign.com/products/davinciresolve/training/DaVinci-Resolve-15-Fusion-VFX-and-Graphics.zip Fusionの3D VFX https //downloads.blackmagicdesign.com/products/davinciresolve/training/DaVinci-Resolve-15-Fusion-VFX-in-3D.zip オーディオ制作 https //downloads.blackmagicdesign.com/products/davinciresolve/training/DaVinci-Resolve-15-Fairlight-Audio-Production-Part-1.zip Fairlightのオーディオ制作 href="https //downloads.blackmagicdesign.com/products/davinciresolve/training/DaVinci-Resolve-15-Fairlight-Audio-Production-Part-2.zip メディアの管理 https //downloads.blackmagicdesign.com/products/davinciresolve/training/DaVinci-Resolve-15-Managing-Media.zip コンテンツの書き出し https //downloads.blackmagicdesign.com/products/davinciresolve/training/DaVinci-Resolve-15-Delivering-Content.zip LUTSダウンロード https //www.colorgradingcentral.com/free-luts-download-davinci/ あなたの動画をシネマ風に！ 無料のLUT をまとめて129選ご紹介します https //www.shutterstock.com/ja/blog/129-free-cinematic-luts 1 2 3 4 5 6 7 8 動画説明 DaVinci Resolve トランジションを追加できない時の対処法 DaVinci Resolve トランジションを追加できない時の対処法 About DaVinci Resolve 18 The free DaVinci Resolve 18 includes all of the same high quality processing as DaVinci Resolve 18 Studio and can handle unlimited resolution media files. However it does limit project mastering and output to Ultra HD resolutions or lower. DaVinci Resolve 18 only supports a single processing GPU on Windows and Linux and 2 GPUs on the latest Mac Pro. If you need features such as support for multiple GPUs, 4K output, motion blur effects, temporal and spatial noise reduction, de-interlacing, HDR tools, camera tracker, multiple Resolve FX, 3D stereoscopic tools and remote rendering, please upgrade to DaVinci Resolve 18 Studio. We hope you do decide to upgrade as your facility grows and you do more advanced work! Important information regarding project library management DaVinci Resolve 18 requires a project library upgrade from DaVinci Resolve 17.4.6 and previous versions. We strongly recommend that you backup your existing (disk based and PostgreSQL based) project libraries before performing an upgrade. What's new in DaVinci Resolve 18 Features marked with * are in progress and may change before the final release. Key Features • Blackmagic Cloud to host and manage cloud-based project libraries. • Collaborate securely over the internet using Blackmagic ID. • Upload and review on Presentations with synced markers and comments.* • Support for intelligent path mapping to relink files automatically. • Vastly improved project library performance for network workflows. • Improved project performance, especially when working with large projects. • New Proxy Generator app for auto-creating proxies within watch folders. • Ability to choose between prioritizing proxies or camera originals. • Proxy files in subfolders are automatically assigned in the media pool. Media Edit • Support for reversing shape, iris and wipe transitions in the edit page. • New subtitle improvements including - Support for timed text TTML, XML and embedded MXF/IMF subtitles. - Ability to view and import subtitles from media storage. - Support for relinking subtitle clips from the media pool. - Subtitle region support with multiple simultaneous captions per track. - Set individual presets, text positions and intuitively edit between regions. - Add, rename and manage regions from the timeline context menu. - Ability to import, export and embed multiple subtitle tracks as TTML. • Support for showing up to 25 simultaneous multicam angles on the viewer. • Edit Index now shows clip duration. • Ability to navigate keyframes outside trimmed clip extents. • Ability to navigate retime keyframes using hotkeys. • Smart bin filter for disabled timelines. • Render in place and open in Fusion actions can be assigned shortcuts. • Reset Fusion composition now works on multiple clip selections. Color • New object mask capability in Magic Mask. • Adjustment clips and Fusion generators can bypass color management. • Support for syncing clip groups in remote grading sessions. • Ability to trigger bidirectional tracking from advanced and mini panels. • Support for matte finesse and 3D qualifier in advanced and mini panels. • Dolby Vision highlight clipping support in advanced panels. • Support for bypassing color outputs from advanced panels. • Add key mixers with auto-connected key outs from advanced panels. • ACES support for Blackmagic Gen 5 camera formats. • Support for the HDR Vivid standard. • Reference gamut compression enabled by default in ACES 1.3. Resolve FX • New Resolve FX Depth Map to generate 3D depth based keys in Studio. • New Resolve FX Fast Noise. • New Resolve FX Despill. • New Resolve FX Surface Tracker for tracking warped surfaces in Studio. • Improved Resolve FX Beauty with new ultra mode. • Improved edge strength and filter controls in Resolve FX Edge Detection. • Option to composite from a second input in Resolve FX Transform. • New bokeh preset for Resolve FX Lens Reflections. • Green-purple control for Resolve FX Chromatic Aberration. • Sizing awareness option in Resolve FX lens flare and radial zoom blurs. Fairlight • Ability to convert fixed bus projects to FlexBus in project settings. • Ability to freely order tracks and buses in the mixer via the track index. • Ability to nudge custom millisecond or sub-frame intervals in the timeline. • Improved quality for time stretched audio. • Improved Dolby Atmos immersive mixing, including binaural monitoring. • Native support for Dolby Atmos production for Linux and Apple silicon. • Independent controls to enable automation and expose parameters. • Improved behavior of automated tracks under VCA control. • Improved meters with configurable decay, peak hold and display modes. • Ability to ctrl-alt click to remove gain and elastic wave keyframes. • Ability to double click a clip in the timeline to rename. • Ability to set record clip name prefix at a per-track level. • Support for renaming underlying tracks when renaming a linked group. • Equalizers with improved Q controls and mouse wheel inputs. • Dynamics with enhanced metering, gain display and enable controls. • Dynamics with improved dry mix, soft knee and metering in FlexBus. • Improved plugin management with replace and copy settings in the mixer. • New built in presets for equalizers and dynamics. • Hold shift and double click clips to extend the edit selection range. • Support for applying audio gain on range selection. • Improved waveform display accuracy under crossfades. • Origination time metadata is now persisted when bouncing mix to track. • Option to trim from unity on the Fairlight Desktop Console. • Support for VCA and bus spill on the Fairlight Desktop Console. • Support for using the Fairlight Desktop Console on Linux systems. • Studio monitoring support for FlexBus on consoles. • Fairlight console option to mute speakers on timeline load. • Support for chasing timecode via Fairlight audio interfaces. • Support for user views in the Fairlight Desktop Console. • Improved mapping for audio effects on the Audio Editor panel. • Ability to use alt + solo to invoke solo safe in the Audio Editor panel. • Support for a new clear mutes action in the timeline menu. • Enabling track mixer controls brings window to focus if already open. • Grid and list modes are persisted for patch, bus and VCA assign. Fusion • Multi-button mode selection in inspector for multiple tools. • Support for all modern and future python 3 versions for scripting. • Support for live previews when using the Text+ color picker. • Multiple new composition blend modes. • New expression animated Custom Poly modifier for masks and strokes. • Faster GPU accelerated paint tool with smoother strokes. • Faster duplicate tool with additional blur, glow and size controls. • Improved fade-on and text ripple title performance. • Improved performance for night vision, glitch, TV and other effects. Codecs • Support for video uploads to internet accounts using custom presets. • Support for encoding mono and stereo MP3 audio. • New HyperDeck export preset in the Quick Export and deliver page. • Ability to render individual clips with timeline effects. • Ability to embed Blackmagic RAW metadata in QuickTime renders. • Custom quality and profile media management options where available. • Support for rendering Dolby Vision compatible H.265 clips. • Support for decoding CMYK format TIFF files. • Support for record date and time metadata for JPEG stills. • Alpha channel support in the IO Encode Plugin SDK. • Support for RED SDK 8.2.2. • New 1440p YouTube preset. • Render option to override ACES gamut compression for round trips. • Main10 is now the default H.265 encoding profile on Mac. General • Support for 10-bit viewers on Windows and Linux in Studio. • Stream video output to remote monitoring in Windows and Linux in Studio. • Apple Neural Engine support for DaVinci Neural Engine on M1 and M1 Pro. • Support for Korean localizations in DaVinci Resolve. • PostgreSQL 13 is now bundled with Project Server. • Support for desktop notifications for collaboration chat. • User preference to import Finder tags as clip keywords on Mac. • Support for importing and exporting Final Cut Pro v1.10 XMLs. • Ability to unlink Dropbox comment and marker sync for timelines. • Playback and render now prevents Mac systems from sleeping. • Support for per-system project working paths in collaboration and cloud. • Support for per-system render cache mode in collaboration and cloud. • Support for setting current project settings as default. • Scripting API support for creating Fusion compositions. • Scripting API support for exporting project archives. • Scripting API support to get and set timeline start timecode. • Scripting API support to detect stale media bins and refresh them. • Scripting API support for updating camera raw sidecar files. • General performance and stability improvements. Intelligent path mapping to relink files automatically DaVinci Resolve 18 has the ability to automatically map and manage paths between users and machines using cloud based project libraries. This ability is enabled by default in the project settings. Once the first user adds media to a project, every additional user or machine only needs to perform a relink to their shared copy of the media. DaVinci Resolve will automatically map these paths so that the media does not go offline for other users. Users can also manually manage shared locations between users and machines. In order to do this, the first user adds a shared media location to the project settings. This could be a shared cloud folder using a service such as Dropbox or Google Drive. Every additional user can then either just relink their footage, or open project settings and set their local path to that media location. New Proxy Generator app to auto-create proxies in watch folders DaVinci Resolve 18 includes a new Proxy Generator app. You can assign one or multiple watch folders to the Proxy Generator. The Proxy Generator app will scan and automatically generate QuickTime proxies with the selected codec in a Proxy subfolder. When importing media into DaVinci Resolve, any proxies found in these subfolders are automatically linked and assigned as proxies in the media pool. This happens even if the proxies are generated after importing the media to the media pool. Improved Proxy Handling DaVinci Resolve 18 allows the user ability to prefer proxies or prefer camera originals. Depending on the setting chosen in the Playback menu, the selected clip type will be prioritized if both proxies and originals are available. Resolve FX Depth Map for depth keying and grading Resolve FX Depth Map generates a depth alpha channel using the DaVinci Neural Engine, allowing you to separate backgrounds, isolate objects at specific depths and create fog, portrait mode and other distance effects. From the effects library in color page, you can apply Depth Map to a node, enable Depth Map Preview to view results, adjust limits, isolate specific depths and finesse results. You can also disable preview, enable OFX alpha and use the alpha output in subsequent nodes. Resolve FX Surface Tracker for tracking warped surfaces The new Resolve FX Surface Tracker in DaVinci Resolve Studio applies textures or effects to flexible and deformable moving surfaces. If the texture you would like to apply has transparency, you should drag the plugin as an FX node rather than apply it on a corrector node. • The bounds tab allows you to select/create a region where you would like to apply the texture. Additional bounds and holes can be added to define complex surfaces. • The mesh tab allows you to establish a mesh over the surface you would like to track. This acts as the starting point for the tracking. • The track tab is where the analysis is performed. You can adjust the motion range for fast-moving objects and the rigidity of the mesh. • The result tab allows you to control how you would like to use the warped surface for warping or compositing content. Improved Resolve FX Beauty with new ultra beauty mode. The ultra beauty mode, now the default setting for Resolve FX Beauty allows for stronger filtering and more natural results. This more powerful effect can even help with smoothing object surfaces, and even some compression artifacts. Convert fixed bus projects to FlexBus Older fixed bus projects can be converted to FlexBus projects by unchecking the use fixed bus mapping control in project settings under Fairlight. This action permanently converts the project's timelines to FlexBus and cannot be undone. Ordering tracks and buses from the track index You can now drag and drop tracks and buses to freely change order in the track index. This order will be reflected in the meters, mixers and the fader panels. You can choose between a single scrollable view or a split view with a fixed section, indicated by an adjustable split point. Configuring meters decay, peak hold and display modes. Fairlight meters now have a Digital VU mode with combined VU and Peak levels in FlexBus projects. From the Project Settings, under Fairlight, you can select IEC 60268-18, Digital VU, or define your own custom levels, scale and decay. Improved plugin management in the mixer You can now copy settings for pan, EQ, dynamics and third party plugins between tracks and buses in the mixer. This can be invoked in multiple ways • Context menus in the plugin dialog or in the mixer graphs of pan, EQ and dynamics. • Hotkeys Shift+Control+C Shift+Control+V (Shift+Command in Mac OS). • Mixer strip header context menus for full channel settings. Improved Python 3 Support The automatic detection of installed Python versions for scripting has been updated to check for default installations for Python 3.3 to 3.10 (and future versions). If set, the PYTHONHOME environment variable (or the explicit PYTHON3HOME and PYTHON2HOME if you have both installed) will be considered. To explicitly override the version used by DaVinci Resolve and Fusion Studio, you can set FUSION_Python3_Home (formerly FUSION_Python36_Home) to point to the base folder. Expression animated Custom Poly modifiers You can now quickly create and animate Fusion masks and strokes using custom poly modifiers. In addition to common expressions, the Custom Poly supports these functions and variables • (px,py) for the current point on the source poly. • disp for the point's displacement on the poly. • index and num for the current point's index (zero-based) and total number of points. • getx(disp), gety(disp) to access polyline values from specific displacements. - getx_at(disp,time), gety_at(disp,time) for displacements and times. - Use get2, get3 variations for additional inputs. • get[rgba][bdwm](x,y) to access image channels with optional black/duplicate/wrapped/mirrored results. Support for 10-bit viewers on Windows and Linux in Studio. In Preferences, under General, DaVinci Resolve Studio now allows enabling 10-bit precision in viewers in Windows and Linux. You will need a capable Nvidia or AMD graphics card, up to date drivers and a 10-bit capable display. Stream video output to remote monitoring in Windows and Linux in Studio. DaVinci Resolve Studio now supports the ability to stream your video monitoring output to a remote Blackmagic Design video monitoring device. This requires • A Windows and Linux Studio system with an Nvidia graphics card. • Remote Studio clients with a Blackmagic design monitoring device. • Windows and Linux clients need an Nvidia graphics card. On the streaming server, you can allow remote streaming connections in Davinci Resolve Preferences under General. By default, TCP port 16410 is used for streaming connections. On the client, go to the Applications folder on Mac or the Windows start menu to the DaVinci Resolve folder, and run the DaVinci Remote Monitoring application. Set the IP address of the server machine. Configure your DeckLink or UltraStudio card on the client machine and press start. The streaming server can now accept the incoming connection prompt and start streaming its monitoring output to remote clients. Currently, remote streaming reflects the cut, edit, color and deliver viewers. It streams stereo audio and does not show overlays or scopes on the client side. Mac OS clients are limited to 8-bit 4 2 0 video formats. Pre-Installation Notes • PostgreSQL 9.0 is the minimum supported version. • PostgreSQL 13 is the recommended version. • 10-bit viewers on Windows Linux needs a capable graphics card and display. Minimum system requirements • Windows 10 Creators Update. • 16 GB of system memory. 32 GB when using Fusion. • Blackmagic Design Desktop Video 10.4.1 or later. • Integrated GPU or discrete GPU with at least 2 GB of VRAM. • GPU which supports OpenCL 1.2 or CUDA 11. • NVIDIA/AMD/Intel GPU Driver version – as required by your GPU. Installing DaVinci Resolve software Double-click the DaVinci Resolve Installer icon and follow the onscreen instructions. To remove DaVinci Resolve from your system, go to the Programs and Features control panel, select DaVinci Resolve, click on Uninstall and follow the onscreen prompts. Migrating legacy Fairlight projects to DaVinci Resolve In order to import legacy Fairlight DR2 projects into DaVinci Resolve, download and install the following utility on your Windows system https //downloads.blackmagicdesign.com/DaVinciResolve/Fairlight-Project-Importer.zip After installing the utility, you should see an option to "Import Fairlight Project" in the Fairlight menu in DaVinci Resolve. Additional information Please refer to the latest DaVinci Resolve configuration guide for details on Windows support, including certified driver versions for third party hardware. It is available from www.blackmagicdesign.com/support/. You will also need to download and install the latest Blackmagic Design Desktop Video software for monitoring with your Blackmagic Design video hardware. Desktop Video is available from www.blackmagicdesign.com/support/. © 2001-2022 Blackmagic Design Pty. Ltd. All rights reserved. Blackmagic Design, Blackmagic, DeckLink, Multibridge, Intensity, H.264 Pro Recorder and "Leading the creative video revolution" are trademarks of Blackmagic Design Pty. Ltd., registered in the U.S.A and other countries. Adobe Premiere Pro, Adobe After Effects and Adobe Photoshop are registered trademarks of Adobe Systems. Avid Media Composer and Avid Pro Tools are registered trademarks of Avid. Apple Final Cut Pro, Apple Motion and Apple Soundtrack Pro are registered trademarks of Apple Computer. Updated April 27, 2022.
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W3C Multimodal Application Developer Feedback W3C Working Group Note 14 April 2006 This version http //www.w3.org/TR/2006/NOTE-mmi-dev-feedback-20060414/ Latest version http //www.w3.org/TR/mmi-dev-feedback/ Previous version This is the first publication. Editors Andrew Wahbe, VoiceGenie Technologies Gerald McCobb, IBM Klaus Reifenrath, Nuance Raj Tumuluri, Openstream Sunil Kumar, V-Enable Copyright © 2006 W3C® (MIT, ERCIM, Keio), All Rights Reserved. W3C liability, trademark and document use rules apply. Abstract Several years of multimodal application development in various business areas and on various device platforms has provided developers enough experience to provide detailed feedback about what they like, dislike, and want to see improve and continue. This experience is provided here as an input to the specifications under development in the W3C Multimodal Interaction and Voice Browser Activities. Status of this Document This section describes the status of this document at the time of its publication. Other documents may supersede this document. A list of current W3C publications and the latest revision of this technical report can be found in the W3C technical reports index at http //www.w3.org/TR/. This document is a W3C Working Group Note. It represents the views of the W3C Multimidal Interaction Working Group at the time of publication. The document may be updated as new technologies emerge or mature. Publication as a Working Group Note does not imply endorsement by the W3C Membership. This is a draft document and may be updated, replaced or obsoleted by other documents at any time. It is inappropriate to cite this document as other than work in progress. This document is one of a series produced by the Multimodal Interaction Working Group (Member Only Link), part of the W3C Multimodal Interaction Activity. The MMI activity statement can be seen at http //www.w3.org/2002/mmi/Activity. Comments on this document can be sent to www-multimodal@w3.org, the public forum for discussion of the W3C s work on Multimodal Interaction. To subscribe, send an email to www-multimodal-request@w3.org with the word subscribe in the subject line (include the word unsubscribe if you want to unsubscribe). The archive for the list is accessible online. This document was produced by a group operating under the 5 February 2004 W3C Patent Policy. This document is informative only. W3C maintains a public list of any patent disclosures made in connection with the deliverables of the group; that page also includes instructions for disclosing a patent. An individual who has actual knowledge of a patent which the individual believes contains Essential Claim(s) must disclose the information in accordance with section 6 of the W3C Patent Policy. Table of Contents * 1 Introduction * 2 What developers liked o 2.1 Reusable and pluggable modality components o 2.2 Modular modality components o 2.3 Declarative synchronization between modalities o 2.4 Scripting and semantic interpretation o 2.5 Styling * 3 What developers would like to see o 3.1 Global grammars o 3.2 Speech grammars for HTML links and controls o 3.3 Speech prompts for voice-enabled HTML links and controls o 3.4 Speech-enabled widgets o 3.5 Use speech to activate links and change focus o 3.6 Back functionality * 4 What developers would like to see continue and improve o 4.1 Support for both off-line and on-line multimodal interaction o 4.2 Support for events distributed over the network o 4.3 Support for implicit events o 4.4 VoiceXML tag and feature support o 4.5 Support for both directed and user-initiated dialogs o 4.6 Mixed-initiative interaction o 4.7 Access to speech confidence scores and n-best list by the application o 4.8 Access to device details o 4.9 Choice of ASR o 4.10 Controlling N-Best choice of ASR 1 Introduction IBM, VoiceGenie Technologies, Nuance, V-Enable, and OpenStream customers have been developing multimodal applications in a broad range of business areas, including Field-Force Productivity, Health Care and Life Sciences, Warehouse and Distribution, Industrial Plant Floor, Financial and Information Services, Directory Assistance, and the Mobile Web. Customer device platforms have included PC s (desktops, laptops, and tablets), PDA s, kiosks, appliances, equipment consoles, and web browser-based smart phones. The multimodal applications primarily extended the traditional GUI mode of interaction with speech, with the location of the speech services either local on the device or distributed on a remote server. Several XML markup languages were used to develop these applications, including XHTML+Voice (X+V) and xHMI. During the process of developing these applications, developers found features they liked about the development environment they were using and found features they thought were lacking. Their experiences were collected and are summarized here as feedback for the W3C Multimodal Interaction and Voice Browser Working Groups to consider when specifying future multimodal and voice authoring capabilities. We also solicit comments from the wider multimodal development community on the extent to which these observations are consistent with their own development experiences. The developers surveyed were expert in various programming languages and application environments. Developers expert in C/C++ and Java generally speech enabled native applications on small devices. Device platforms included Windows Mobile, BREW, embedded Linux, Symbian, and J2ME. Developers expert in the Web generally speech enabled browser based applications. Web browser platforms included Opera, Access NetFront, Windows Mobile Internet Explorer, and the Nokia Series 60. Web developers understood the web programming model very well but generally were new to speech. They liked XHTML, XML namespaces, XML Events, CSS, JavaScript, and VoiceXML with its ability to hide platform details. Developers expert in VoiceXML and dictation had backgrounds in speech and telephony and generally worked on adding GUI to voice and dictation applications. 2 What developers liked 2.1 Reusable and pluggable modality components Developers preferred to develop modality components that are reusable and pluggable. Use Case VoiceXML modality component A VoiceXML modality component is reused without modification in different multimodal applications. 2.2 Modular modality components Modular modality components are preferred because they can be authored separately by the modality experts. Use Case XHTML and VoiceXML modality components A VoiceXML expert authors the voice modality component and an XHTML expert authors the GUI component. Modality component coordination is handled independently, for example, by X+V sync and cancel elements. 2.3 Declarative synchronization between modalities Implicit event support includes both implicit event generation and implicit event handling. At different stages in the operation of the modality component, there will be either event generation or event handling by the component itself. Use Case X+V sync element The X+V sync element provides a declarative synchronization of XHTML form control elements and the VoiceXML field element. The sync element allows input from one speech or visual modality to set the field in the other modality. Also, setting the focus of an input element that is synchronized with a VoiceXML field updates the FIA to visit that VoiceXML field. 2.4 Scripting and semantic interpretation Developers liked support for modality component integration via scripting and semantic interpretation. Use Case Timed notifications of an operating room medical procedure A timed notification changes dynamically as time progresses. The notification depends on the current state of the application as well as the notification state. For a GUI+speech multimodal application a notification may be a TTS output and a new GUI page, corresponding to the next step of an operating room medical procedure. Use Case Integrated pen and speech interaction with a map The user says "zoom in here" while drawing an area on a map. The application responds by enlarging the detail of the area within the boundary drawn by the user. 2.5 Styling Developers liked CSS for styling each modality. For example, the CSS3 module for styling speech based on SSML was useful for styling the voice modality. Use Case TTS rendering of a news article on the web The news article is read by the computer in a realistic voice that uses a different sounding voices for headlines, section headings, and text. There are also a pauses between paragraphs and before article headlines. 3 What developers would like to see 3.1 Global grammars Developers would like support for top-level ("global") grammars that are active across multiple windows (e.g., HTML frames or portlets) of the application. Use Case Top-level menus An application has top level menus "buy", "sell", and "trade". At any time while involved in the "buy" dialog, a user can say "trade" and be switched to the "trade" multimodal dialog. 3.2 Speech grammars for HTML links and controls Developers would like support for explicitly adding speech grammars to activate HTML links and controls. An automatically created speech grammar may not capture everything the user may say. Use Case Hotel booking application get list of hotels Before booking a hotel reservation the user looks up a list of available hotels. On the page along with the reservation is a link labeled "Available Hotels." The developer anticipates that besides "available hotels", the user may say "show me the available hotels" or ask "what hotels are available", and adds these two phrases to the grammar for activating the link. Use Case Hotel booking application submit reservation The reservation form s submit button says "submit reservation", but the developer anticipates that a user might say "submit booking" instead, and adds "submit booking" to the grammar for activating the button. 3.3 Speech prompts for voice-enabled HTML links and controls Developers would like support for explicitly adding speech prompts to voice-enabled HTML hyperlinks and controls. The prompts can provide more information than the visual labels attached to the HTML hyperlinks and input fields. Use Case Hotel booking application enter Hotel name The user is prompted to enter a hotel name with the following TTS "please enter a hotel name. You can get a list of available hotels by saying show me available hotels. " 3.4 Speech-enabled widgets Developers would like to see speech enabled UI widgets which contain a simple dialog flow (e.g. widgets which contain confirmation or disambiguation steps). This allows an author to configure the dialog properties (prompts, grammars, confirmation-mode, confidence thresholds, etc.) of an HTML control or hyperlink. Use Case Hotel booking application confirm hotel The user says the name of one of the available hotels. The application repeats the name of the hotel back to the user and asks if it is correct. If the user says yes then the application fills in the HTML field with the user s input. 3.5 Use speech to activate links and change focus It should be easy to use speech to do more than fill in HTML form controls. For example, there should be declarative support for activating an HTML link or changing focus within an HTML page. Use Case Speech enabled bookmark page A page that displays the user s bookmarks is speech-enabled such that each bookmark has an associated grammar for moving the browser to the bookmarked page. 3.6 Back functionality Developers like to see support for a consistent and intuitive "back" handling across modalities. The browser "Back" multimodal functionality should be built-in and not require custom code. Use Case Browser "back" button The user can either press the browser back button or say "browser go back" to return to the previous multimodal page. All spoken commands which control the browser are preceded by "browser" so there is no collision with an application grammar. 4 What developers would like to see continue and improve 4.1 Support for both off-line and on-line multimodal interaction Multimodal interaction should be supported both for applications that are on-line, that is, are connected to the network, as well as for off-line applications. If the multimodal application goes from an on-line to an off-line state, multimodal interaction should still be supported by the modality components that run locally on the device. Use Case Access of medical information while walking down a hallway A doctor carrying a wireless tablet accesses patient medical information while walking down a hallway. Loss of wireless connectivity does not prevent the multimodal application from interacting with the doctor or presenting information it has stored on the doctor s tablet. Use Case Multimodal application in hospital operating room An off-line multimodal application in an operating room delivers timely instructions to the doctor. 4.2 Support for events distributed over the network Because a modality may be distributed on a remote server, there must be support for distributed events between a modality and the interaction manager. Use Case Driving directions A user accesses a multimodal driving directions application using a cell-phone. The application tells the user to turn right at the next intersection. An arrow pointing right pops up over a map. The application had received an event to display an arrow from the server. 4.3 Support for implicit events Implicit event support includes both implicit event generation and implicit event handling. At different stages in the operation of the modality component, there will be either event generation or event handling by the component itself. For example, the VoiceXML modality component could implicitly generate a focus event when the FIA selects a new form input item. Use Case Hotel booking application name, address, phone number A hotel booking application has a form with separate HTML input fields for entering name, street address, city, state and phone number. When the user selects one of the fields the user hears a prompt for entering the correction information into the field. The visual input focus is coordinated with the speech input focus. 4.4 VoiceXML tag and feature support VoiceXML support should include, for example, the object and mark tags and the "record while recognition is in progress" feature. Use case Windows program for calculating stock purchase totals The object element can be used to load a reusable platform-specific plug-in. For example, the application would load a Windows program which calculates stock purchase totals using the object element. Use case Read part of an e-mail message The mark tag can be used to mark how much of the text was actually read before the user left the page. When the user returns to the page the rest of the text can be read beginning where the user left off. Use case Unrecognized user input The recording of an unrecognized user input can be logged by the speech recognizer. 4.5 Support for both directed and user-initiated dialogs There must be arbitrary as well as procedural speech access to the visual application. For a dialog mechanism used in conjunction with a visual form there should be support for user-initiated dialogs. For example, the user should be able to jump to arbitrary points in the dialog by changing the visual focus (e.g., by clicking on a text box). Use Case Form filling for air travel reservation The air travel reservation application takes the user step by step through making a reservation, beginning with the origin and destination of the flight. After the user has been given a selection of flights, the user clicks on the visual departure date field to change the departure date. Use Case Application with two HTML forms The user is taken step-by-step through filling out a set of HTML fields in a form. Before all the fields have been filled, the user clicks on a field belonging to the other form. 4.6 Mixed-initiative interaction Dialog mechanisms that combine speech and text input must support mixed-initiative interaction. Use Case Flight reservation application A flight reservation application has separate HTML input fields for entering destination airport, date of travel and seating class. With a single utterance "I d like to go to San Francisco on April 20th, business class" the user fills in all the fields at one time. 4.7 Access to speech confidence scores and n-best list by the application Confidence scores and n-best lists are useful for example to allow the user to pick from a set of results supplied by an input recognizer. Use Case Select a football player A user says the name of a favorite football player. A number of players matched the user s input with the same low confidence score. Instead of asking the user to repeat the name, the application displays a visual list of player names that was matched. The user selects a name from the list. 4.8 Access to device details The developer would like access to device information such as, for example, the cell phone number, phone model, and display screen size. Typically in any mobile application the content is very specific to the device and at times personalized for the user. Access to device specific details such device model (e.g., Nokia 6680) helps the application reduce the grammar size and render device specific content. Access to user information such as the phone number allows the application to personalize the content for the user. Use Case Mobile appointment application When user George accesses the appointment application the application says "Welcome George " and presents a list of appointments for the day. The user can select any of his appointments by saying an appointment label shown on his phone. Each label is short enough to fit entirely on George s display. 4.9 Choice of ASR The developer would like to have more control over ASR. An example is the capability of a multimodal application to choose between a local ASR or network based ASR depending on the location of the grammar. The developer should be allowed to pick the ASR depending on the application logic. Use Case Music search mobile application In a music search mobile application the application uses network-based ASR to perform a search for a particular Artist/Album such as Green Day , 50 Cent etc. In case of network-based recognition the grammar is changing dynamically and is large in size. The same music application may use local ASR for the purpose navigating through the application using commands such as Home , Next Page etc. 4.10 Controlling N-Best choice of ASR The application should be able to control the number of results it wants from ASR based on either a number N (say return top 5 matches) or confidence score (say return 0.8 score). The developer should be able to author this N-Best list control. Use Case Select a football player mobile application As with the previous football player selection use case, the list of players is visually displayed for the user to select. The user can make a selection from the visual presentation. The ASR may return more than 10 results as part of its N-Best response mechanism. However, the application depending on the screen size may choose to display only the top 5 entries on the screen. The application requests only the top 5 players in the N-best result instead of receiving 10 results and then ignoring the last 5 results.
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【登録タグ Abyss nova C FELT 曲 美歌 聖徳伝説 ～ True Administrator】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*