約 2,802,792 件
https://w.atwiki.jp/tljtrans/pages/37.html
That s my good friend Charlie. He was the first person I met when I came to Venice, and I love him dearly. As a friend. 彼は私の親友Charlie。Veniceに来た時最初に出会った人で、彼のことは心から慕ってる、友達としてね。 That s Charlie. Charlieよ。 Mmmm... Draft... Actually, I m not a beer person. I prefer a glass of white wine or a cup of steaming mocha. Draft beer. Import, of course. Complimentary candy. For paying customers only. Stan has a habit of taking it out of your salary if you, uhm, get the munchies. Complimentary candy. I m sure Stan won t notice if I dig gently into his supply. He s got crates of these in the back. I have more than enough. I hate to say it...but I don t have time to talk to Charlie right now. Hi, Charlie. April! Nice to see you, girl. April！ 会えて嬉しいよ。 No. Early bird finishes the damn painting on time. (laughs) I came to wake you this morning, but you d already left. Early bird catches the worm? Hi, Charlie. What s up, April? Why was the caf・closed earlier? Ah, you know, some problem with the pipes. Stan, he gets real worked up--he was seriously pissed, girl. Ugh, gross. There were problems with the plumbing back at the house, too. No hot water. I noticed! Girl, that was one cold shower. There are always problems with the pipes here in Venice. They re too old. How s work going today? Aside from the trouble with the plumbing, everything s been peaceful. Emma s here with Marcus and Isabelle, but other than that, it s been a quiet morning. Or on holiday. Perfect time for it too. The city s just boiling in July, and it gets even hotter in August. You doing anything special tonight? Working. I should really be at rehearsal, but I need the money. I m going home for a week before school starts in September. Right, you told me. Well, that s great. It s been years since your last trip home, right? Right, yes, you remember well. Four years. My father and I, we haven t been on good terms since I left. I have to get going, Charlie. Charlie、私もう行かなきゃ。 Take care, all right? じゃあね。 Keeps yelling at the plumber to fix it or Stan will fix him, and the poor man is trying to work, but Stan don t quit. You should ve stayed out in the country until the autumn, girl. It s cooler out there, yeah? Isn t it such a clich・ though? I don t look forward to seeing him again, but it will be nice to be back with the rest of my family. Especially my sisters, and my Mum. I know how that feels. Have you seen Cortez around? Cortezを見なかった？ As a matter of fact, I have. And he was asking for you. 実のところ見かけたよ。君について尋ねてた。 Do you have any idea where I can find the Roma Gallery? Roma Galleryがどこにあるのか知ってる？ Roma Gallery? I seem to remember the name from somewhere...but no, sorry. Roma Gallery？ どこかで聞いたことがあるような…ごめん、思い出せない。 They have a poster next to the jukebox, advertising an exhibit. Jukeboxの隣にポスターを出してるじゃない、展覧会の広告で。 Oh yeah, that s right. I remember they put up that poster. The address must be written down somewhere, yeah? Did you check? ああ、そうだ。そのポスターが貼られてたのを思い出したよ。住所がどこかに書いてなかった？ 確認したかい？ I ll see you later, Charlie. またね、Charlie。 Later! また！ You said Cortez stopped by... Yeah? Any idea where Roma Gallery is? Roma Galleryってどこかしら？ I d check the poster if I were you. The address has got to be written somewhere. 俺が君だったらポスターを確認するね。住所がどこかに書いてあるよ。 The plumber finds the problem eventually, but not until he s waist high in canal water down in the basement. Everybody must be at home, out of the sun, yeah? Mind if I ask you a few questions, Charlie? 少し聞きたいことがあるんだけど、いい？ Why would I mind, girl? ああ、もちろん。 Can I ask you a few more questions, Charlie? 他にも質問があるんだけど、大丈夫？ Sure. Yeah, the summers were cooler back home. I remember, back in St. Vincent, it got so hot sometimes...my father worked as a volunteer fireman, and sometimes he d "borrow" the old truck from the garage... On those days, I loved him so much. They were good days. He d fill it with spring water from the river up in the hills, and then he would hose me and my sisters down with ice cold water. We d laugh and scream and run around, and the funny thing is, his eyes d light up, and he d be so proud of himself... He could be so good, and he could be so bad. I think I prefer this heat to the heat I got at home. You re safe now, yeah? We take care of you, April. You do. I m lucky. It s not luck. You re a good person, and you deserve good friends. You help me out when I m in a state, yeah? You re always in a good mood, Charlie. Yeah, but you never know. You re there if I ever need you, I know that. He asked about me? 彼が私のことを？ Yeah, where you were. He had a message for you. I told him to give it to Emma, that she was more likely to bump into you. うん、どこにいるかって。君に伝言があったらしい。Emmaに伝えるように言ったよ、彼女のほうが君と出くわす確率が高いからね。 Do you know where he was going? それからどこに行ったかわかる？ No, but he seemed interested in that poster next to the jukebox. They put it up earlier today. さあ。でもJukeboxの横のポスターに興味があったみたいだよ。今朝貼られたやつだ。 Thanks. I got it. But I have no idea what it means. 聞いたわ。でも意味がわからないの。 Cortez can be a little strange. 彼ちょっと変わってるね。 Do you have any ideas where kids would be able to, uh, "visualize their dreams"? 子供たちが…ええと、「夢を思い描ける」場所って、どこのことか分かる？ Maybe in therapy? それってセラピー？ I don t think that s it, Charlie. 違うと思う、Charlie。 What poster did you say he was interested in? 彼が見てたポスターってどれ？ The one right next to the jukebox. Jukeboxの横のやつだよ。 Anytime, April. お安いご用さ。 Then, I don t know. Remember you re supposed to get paid today. Stan s not gonna remember unless you bug him about it. What s your take on Cortez? Cortezってどう思う？ Why do you want to talk about Cortez? I don t know him that well, girl. Yeah, he s been around for as long as I can remember, but I never really talked to the man. どうしてCortezについて聞くの？ 俺は彼のことあまり知らないよ。そうだな、彼は俺が覚えてる限りずっとこの辺りにいるけど、実際に話したことはなかったな。 Do you think he s as crazy as some people say? 一部の人が言うように狂人だと思う？ No, he s not crazy. Just a little eccentric. He doesn t give a donkey s ass what people think or say about him, and that s cool. I don t know, I have a feeling there s a lot more to Cortez than what he wants us to believe. That man has had an eventful life, I m sure. Anything else that comes to mind about Cortez? What else? I don t know what to tell you, girl. When he s not talking about books, he talks about old movies. He loves the classics. Calls them "real art". What was it about me that made you want to be my friend, Charlie? Everything, girl! You re a sweet peach (laughs). No, it s true -- I liked you from the very beginning, when you first came into the caf・with a suitcase in each hand, lost and bewildered. God, thanks for reminding me. I was such a country bumpkin. No, everyone who comes to Venice looks like that, girl. This is the village of the damned, don t you know? (laughs) How long have you known Emma? I met Emma about one year ago, when she started studying at VAVA. She moved into the room just opposite mine, and we became friends almost immediately. I like her a lot, and the two of you are the best friends I ve ever had. Thanks, Charlie. The same goes for me. Did you ever tell Emma that? Yeah, I ve told her, and she jokes about it...that s just Emma. I know she appreciates me telling her, though. Does Emma s behavior ever worry you? She can seem a little out of control from time to time, but she s smarter than people give her credit for. I think she s able to take good care of herself. She s a brilliant artist. Her sculptures are inventive and beautiful. I know. Sometimes I m in awe -- they just don t seem to match her personality. She s a deep person, but she hides it well. She s more comfortable being a ditzy teenager than a professional artist, but around the two of us -- sometimes she lets the disguise drop. I love her when she does that. Thanks, Charlie. What about you Charlie? What about me? Yeah, when was the last time you talked about yourself? I don t talk much about myself, girl. You know that. Still...I d like to talk about you for a bit. If you want... Just in general, or is there anything in particular you want to know? Could I ask you a few more questions about yourself? Yeah, sure. If you re interested. Do you like living in Venice? I love Venice. I ve been here three years now, and I haven t grown tired with it yet... I don t know if I ever will. Venice s like a college campus -- there are so many young people here, from all over the world, and the mix of nationalities and ideologies and ethnicities is refreshing and inspiring. The fact that we re also right in the middle of one of the great cities on Earth is just a bonus. Call Newport whatever you want, at least it s alive, and there s always something going on. Yeah, Venice is my kinda place, and I m not planning on leaving anytime soon. At least not as long as all my friends are living here. Thanks, Charlie. What s your biggest dream? A dark stage, a packed auditorium, and a single spotlight. Dancing, girl, don t you know? I m a good dancer, but I need to be among the best to make it out in the real world. So I ll keep studying and I ll keep working as a waiter to support my studies. Just like you. How did you end up in Venice? At home, there wasn t much professional training available for dancers. And my father, he was not happy about my choice of career. He wanted me to work in the factories like him and his father. Out here, in Venice, everyone s got their own dreams and people are supportive of each other no matter how crazy those dreams might be. Your dream isn t crazy at all, Charlie. You re already half-way there. But I still have a long way to go. You re right, girl. I can make it if I work hard enough. So can you, cause we re both just so damn talented! (laughs) Are you happy working here at the caf・ We make decent money, if that s what you mean. I don t want to be a bartender for the rest of my life, obviously, but yeah, I m happy I have a job. And you work here too, so I get to hang out with my friend, right? If it wasn t for that, I don t know if I d be able to do it. Hard work and lousy pay. But the hours are flexible, and like you said, I get to hang out with you and my other friends. That s all I wanted to know, Charlie. Okay. Unfortunately, yeah. Are you staying for the show tonight? What show? You don t know who s playing? I ve had a--few other things on my mind these past few days, Charlie...sorry. Anybody good? Anybody good? Are you kidding? Royn Dale s playing! It s the first gig on their new tour...sort of returning to their roots before they do the big venues. Tonight? Great! That s perfect, especially tonight. I need some serious unwinding. Yeah? What s up? You still staying for the show? Yup. Just wanted to chat a little first. Sure. What s on your mind, girl? Pulling long hours today, Charlie? Nothing, I m just tired. I just had the weirdest experience of my life. You wouldn t believe me anyway. You don t look too hot either. I mean, uh, you always look hot, but you look a little beat...a little tired. Do you mean that? About me always looking hot? Yeah, you know I think you re the most beautiful girl in the world. I ve told you before. I just have a hard time accepting it, is all. Thanks, Charlie. You so sweet. Weirder than what happened here last night? I just had the weirdest experience of my life. Weirder than last night? Much weirder, trust me. I mean, what happened here...it could be explained. A hologram, Rapture gas, mass suggestion... That s stretching it a little, don t you think? What, rather than the alternatives? That we re all either going crazy or that something is breaking through from another world? You don t think that s stretching it? I don t know what I think, April. I just know that, sometimes, there are things lurking in the shadows that can t be explained by science...that the world holds more mysteries than we think. Maybe. Try me. No, really, you would not believe it. I m not sure if I believe it. Actually, I m pretty sure I don t, but...it s too close right now, I gotta think it through first. All right, when you re ready you tell me, okay? Maybe. If I tell anybody, you ll be the first, Charlie. Who told you about last night? Fiona. And I told her about what happened here. Much weirder. I mean, it sounded like what happened here could ve...it might just have been mass suggestion, or a hologram, or even Rapture gas. April-- It s happened! I know, I know, it was probably very real to you, and I m not saying it wasn t, but the alternatives... Are the alternatives so much worse? That there are things going on that we can t explain? That there s more to life than what science teaches us? I don t know, Charlie. I wish I did, but I don t. What do you mean? What happened here? You don t know? It was another one of those "weirdest things ever" incidents, but it sounds so much like what happened to you guys. It happened around eleven last night. I was behind the bar, and I couldn t see how it started, but when the music changed... Something--it wasn t human, or not like any human I ve seen--appeared...materialized...from the jukebox. It was playing an instrument, and at first it didn t seem to notice anyone... Then, when it did, it suddenly disappeared again. I mean, everyone saw it. Everyone. And everyone was just staring at the jukebox, and then at each other. And then things sort of...returned to normal again. It was as if they all chose to block it out. It was really scary. That does sound like what happened back at the house last night. But Charlie, it could just have been--I dunno--mass suggestion, or perhaps gas Rapture...even a hologram. Why is that easier to accept than the alternatives? You mean, that we re all going crazy? Or that something really is happening, like an opening between dimensions, and stuff s leaking through? You d rather believe that? I believe there s more things under the sky than science can explain. To me, that s a better explanation. I can accept a mystery. Charlie, I don t know...I don t know what I m supposed to believe anymore. So what s this thing you were gonna tell me about, the "weirdest experience of your life"? You wouldn t believe me anyway, Charlie. Try me. No, really. I can t. It s too much, too close. I don t know if I believe it myself. Okay. You tell me about it later then, all right? Maybe. I have to tell you what happened to me last night. If it s about what happened in the common room, I heard. Fiona told me. Really? Freaky, isn t it? It freaked me out, that s for sure. Yeah, but I can relate. Did anyone tell you what happened here? No, what? Around eleven last night, I was working the bar, and I couldn t see how it started, but the music suddenly...changed. Something--it don t think it was human, not from any anatomy book I ve ever seen, at least--appeared...some said materialized...from the jukebox. It was playing an instrument, and at first it didn t seem to notice anyone... Then, the second it did notice, it disappeared. In the blink of an eye. Everyone saw it. And, afterwards, everyone was just staring at the jukebox in complete silence...and then things just...went back to normal. It was as if they all chose to block it out. It freaked me out too. And, even though we--you and me--didn t see the same thing, I believe they are...they must be...related. What the hell s going on? I don t know. My Grandma would call it voodoo, but then she calls everything she can t explain voodoo. How about hallucinations? Or mass hypnosis? In two different places, at the same time? Do you really believe that, April? Don t ask me what I believe. The alternatives... ...are scary, yeah, but is the fact that there are unexplained mysteries in the world any worse than the possibility someone s feeding us nightmares? If you could only... Yeah, Charlie, I think I d actually prefer that. Is Emma around? Haven t seen her. But she knows about the show, so she ll be here. When does the concert start? In less than an hour. I expect the place to be crowded soon, so you should find yourself a spot to sit down. Thanks, Charlie. No problem. Later. I m glad you re here. I need somebody to talk to. Yeah? Me too. What s going on? Charlie? Weird stuff has been happening to me. You go first. Oh, nothing. Doesn t it always? Not like this. I was convinced they were hallucinations, after-effects of my dreams...but yesterday, and last night... Last night? That s incredible. Me too! You haven t heard anything about what happened here last night? Not a word. Now you definitely got my attention. What happened? No problem. Around eleven last night, I was working the bar, and--well, I couldn t see how it started, but the music suddenly changed, and the place went dead quiet. I walked over to the far end of the bar... Something--it wasn t human, definitely not like any human I ve ever seen--just appeared out of thin air where the jukebox is, playing an instrument. At first it didn t seem to notice anyone... ...everyone stood there, watching it, dead silent. Then it looked up, and then it just disappeared. Everyone was staring at the jukebox, and then at each other. And then things just...went back to normal. It was as if they all chose to block it out. It was scary, girl. I couldn t get the image of that creature out of my mind...and the look on its face... It was real, that s for sure. As real as you and me. But different. Don t interrupt. What happened? You haven t heard anything about what happened here last night? No. Tell me. Sorry, girl. Go on. This is gonna be hard to believe...but it s true, I swear to you. Of course I ll believe you, girl. Last night, I came home, and Mickey and Fiona were watching the screen. So I joined them. We watched a documentary about the rainforest, and...and... What happened? The room turned into a jungle. Are you serious? No. I m lying to you. Of course I m sure! I was there, Fiona was there, Mickey...we all saw the same thing. A jungle. But only for a split second. Then it was gone. Just like that. And it wasn t like a hologram--it was more real than that. It smelled right. The air was thick and humid, and...and it didn t feel synthetic, like those shows they have. It felt real. The worst part was, it looked familiar. Like something from a...a dream. I recognized the place. And I recognized the emotions I had being there. From where? Like I said, from dreams. And from...experiences I ve had...these past few days. Strange stuff. Scary stuff. But I d rather not talk about those experiences now. I understand. Wow. Heavy. It s amazing how similar our stories are. And it scares me. Because...have you considered the possibility you ve been drugged, Charlie? Or subjected to some holographic experiment? You prefer that to the alternatives? That we re going crazy, or that there s actually something...something going on, something we can t understand? You think those alternatives are better? I can t tell you, April. All I know is the experience was real to me, as yours was to you, and to a lot of other people. Now I want to hear your story, April. What happened? So what about you, Charlie? What s your story? Any nightmares tonight, April? After last night? Are you kidding? It s a wonder I haven t gone crazy yet. So you re in the "true believer" crowd, then? What do you mean? What I mean is, a lot of the people who were here last night refuse to admit they saw what they saw. Or they blame it on hidden holographic projectors, or drugs in the coffee. That s as good an explanation as any, don t you think? Is it? Amongst all the alternatives, you d prefer to believe in a conspiracy? What, and face that fact that we all might be going mad, or that something really bad is happening? Who knows, April. Perhaps sometimes it s better to embrace the mystery rather than trying to explain it? I believe what I see, Charlie. And sometimes I don t even believe that. Anyway. Let s not talk about that right now, okay? Okay. Charlie? Gotta go find Cortez again. Is this going to be a daily ritual with you guys? I certainly hope not. Bye, Charlie. Later. Mind if I ask you a few questions, Charlie? Can I ask you a few more questions, Charlie? Sure. Why would I mind, girl?
https://w.atwiki.jp/bemanilyrics/pages/2868.html
Yum Yum Jelly / YUC'e words, music arranged by YUC'e My sweet days きらきら煌く 誰にもあげないよ Special time Cloud Haze もやもや晴れたら 透き通るから Yum! Yum! Jelly! Everyday その味もわからないで ゆら ゆられてんだ Noも言えないで それでいいの？ …だめ からまわり 流し込んだのは ジブンだけの Color and taste かたまっていく
https://w.atwiki.jp/satoschi/pages/4685.html
シャル＝ズワル語 ｜Niger-Congo languages｜Atlantic-Congo languages｜Volta-Congo languages｜Benue-Congo languages｜Plateau languages｜ 言語類型 現用言語 使用文字 type living language writing system ISO 639-3 【sha】 言語名別称 alternate names 方言名 dialect names Shall (Shal) Zwall 参考文献 references WEB ISO 639-3 Registration Authority - SIL International the LINGUIST List Ethnologue
https://w.atwiki.jp/tlaplus/pages/15.html
PlusCal構文 素のTLA+の記述はプログラマにとっては馴染みのないもののため、プログラマでも分かりやすく、記述しやすいPlusCal記法が用意されている。 PlusCalはTLA＋に変換され、記述された仕様がある条件(不変条件やアサーション)を満たすかTLAのモデルチェッカ(TLC)が検証する。 PlusCalによる記述は必ず必要というわけではない。TLA+のみで記述しても検証はできる。 ---- MODULE HelloWorld ---- EXTENDS TLC (* --algorithm HelloWorld { { Greeting print "hello, world"; } } *) PlusCal の構文は(* *)で囲まれた部分、”--algorithm [モジュール名] から end algorithm;” までの間で、それより外は TLA+ の構文である。 PlusCalの構文は最終的にTLA+に翻訳される。PlusCal構文の構造は決まっていて、以下のように正しく並んでいることが求められる。 (*--algorithm name { (* グローバル変数宣言 *) (* define(演算子)定義 *) (* マクロ定義 *) (* プロシジャ *) (* アルゴリズム本体、もしくはプロセス宣言 *) }*) p-構文とc-構文 PlusCalには、p-構文とよりコンパクトなc-構文の2つの別々の構文がある。2つの構文で記述されたコードのスニペットを次に示す。 p-構文 while x 0 do if y 0 then y = y-1; x = x-1 else x = x-2 end if end while; print y; c-構文 while (x 0) { if (y 0){ y = y-1; x = x-1 }else{ x = x-2 }; print y; p-構文はPascal風に”begin”, “end”等を使ってコードの開始、終了を明記する。c-構文はより簡潔に”{ }”でくくることで表現する。 C++、C#、Java などの C から派生した言語でのプログラミングに慣れている場合は、c-構文がおすすめ。 変数宣言 PlusCalでは以下のように変数を宣言する。 variables x, y =0, z = {1,2,3}; 初期化は必須ではない。宣言時に型は明示しない。文末にセミコロンをつける。 \inによる初期化 変数は”=”だけでなく、”\in”で初期化することができ、値のとりうる範囲を指定することができる。 以下のような場合、yは1から10のいずれかの要素になることを示す。この場合、TLCはy=1のケースで検証を行い、次にy=2のケースを検証し、y=3,4,5..10のケースを検証する。 variables x =1, y \in 1..10; PlusCalにおける“=”と“ =”およびTLA+における” x ”と“ ｘ’ ”について PlusCalでは “=” が等価記号で “ =” が代入となる。しかし、初期化のときだけは “x = 1” と記述する。 原則として、変数を最初に扱う場合のみ、“=” は初期化として扱う。 これは変換先にあたるTLA＋自体には代入というものが存在しないため。TLA＋ではxを初期化した場合は”x = 1” と記述する。 xが初期化されていて、2を割り当てたい場合は、“x’ = 2”と記述する。xと1を比較したい場合は“x = 1”と記述する。 TLA+では代入という概念自体がなく、xの次の状態をx’で表す。”x’ = 2” はxの次の状態が2になるということを示す。 変数に対する操作を整理すると以下のようになる。 言語 宣言 初期化 更新 比較演算子 TLA+ VARIABLES x x = 1 x’ = x + 1 x = y PlusCal variables x x = 1 x = x + 1 x = y define宣言 PluaCal構文にて宣言した変数は”BEGIN TRANSLATION”の行に続いて、TLA+で定義される。 そのため、“(* --algorithm “より前では演算子の定義などにPluaCal構文にて定義した変数を使用することができない。 この問題に対応するため、variables宣言の後に続いてdefine宣言を行い。define宣言内でPlusCal構文にて宣言した変数を使用して、グローバルに使用できる演算子を定義することができる。 マクロ Pluscalではマクロを定義することができる。 macro Name(var1, ...) { \* body }; マクロはTLA＋に翻訳される際にインライン展開される。そのため、ラベル、変数の割り当て、whileループを定義することはできない。 マクロ呼び出しには”call”は不要。returnはない。 プロシジャ プロシジャはマクロと似ているが、ローカル変数を宣言することができる。 procedure Name(arg1, ...) variables var1 = ... \* This cannot be \in, only = { Label \* body return; }; プロシジャの制約は以下のようなものがある。 PlusCalのプロシジャを使用する場合は標準モジュールSequencesをEXTENDSに含む必要がある。 これはTLA+に翻訳される際、プロシジャを処理するためにスタックが導入されるため。 プロシジャのreturnは呼び出し元に値を返さない。 プロシジャはマクロの後、プロセスの前に定義する必要がある。 プロシジャはマクロを呼び出せるがマクロはプロシジャを呼び出すことはできない。 プロシジャからプロシジャを呼び出すことができる。再帰的に自身を呼び出すこともできる。 プロシジャでプロセスを使うことはできない。 プロセスはマクロ、プロシジャを呼び出すことができる。 プロセス内でプロシジャを呼び出すときは、プロシジャの名前の前に”call”をつける必要がある。プロセスから呼ばれるプロシジャにはラベルが定義されていなければならない。 プロシジャはローカル変数を定義することができる。ただし等式(=)のみで集合(\in)にすることはできない。 Init, Next, Spec演算子 PlusCal記法で記述された内容はTLA＋に変換される。TLA+に変換される際にはかならず(?)、Init, Terminating, Next, Specという演算子が定義される。 Init演算子 初期状態を表す。通常、システムの状態変数に対する初期値の条件が含まれる。宣言した変数はInit中で必ず全て初期化される。 Terminating演算子 終了条件が定義されている。pc[]が”Done”となり、かつ、すべての変数がUNCANGEDとなる（つまり、変化がなくなる）ことが定義される。 Next演算子 PlusCalから変換された場合は状態遷移の分岐が定義される。 Nextから先の状態遷移ではすべての変数の新しい値を設定する必要がある(PlusCalから変換された場合は自動的にすべての変数の新しい値が設定されている)。 全ての変数に新しい値を設定するのは煩雑なためEXCEPT構文がある。 Spec演算子 以下のような記載がされているはず。 Spec == Init /\ [][Next]_vars このTLA+の文は、システムの仕様（Spec）を定義している。ここで、2つの主要な要素が含まれている。 “[][Next]_vars”の部分は、システムの状態遷移に関する性質を表している。[]はTLA+の「常に（always）」という時相論理演算子で、Nextは状態遷移を表すアクションである。_varsは、システムの変数のタプルを指している。 ボックス演算子 [P]_xは特殊な糖衣構文で“[](P \/ UNCHANGED x)” という意味となる。つまり、”Spec == Init /\ [](NEXT \/ UNCHAGED vars)”となる。 システムの仕様Specは、初期状態Initと状態遷移[][Next]_varsの論理積（/\）で定義され、時相論理式の慣例として時相論理式([]または )の外側は初期状態で真として扱われる。 つまり、Specは、システムは初期状態Initが真で始まり、その後のすべての状態遷移がNextの定義に従って行われるか、変化しないことを意味している。 この定義により、システムの振る舞いに関する性質や制約が表現される。 制御構文 PlusCal で制御を記述するための構文のうち if-else, while, goto の 3 つはすべて一般的なプログラミング言語と同じ機能である。 if-else文 If( condition ){ statements }else if( condition ){ statements }else{ statements } while文 for文に相当する構文はPlusCalには存在せず、whileとループカウンターを組み合わせて実装しなければならない。 while文の前にはラベルを記述しなくてはいけない。 label：while( condition ) { statements }; call文 プロシジャ呼び出しの前にはキーワード call を付け、その後にラベルを付ける必要がある。 call proc( ); label goto文 ラベルの処理へジャンプする。 goto label; 非決定性挙動を記述する制御構文 非決定性挙動を記述する構文について either either構文は、複数のアクションのうち1つを非決定的に選択して実行する。 either構文内には、それぞれのアクションが別々のブロックで記述され、実行時にランダムに1つが選択される。 これにより、アルゴリズムの並行性や非決定性をモデル化する。 either{ statements }or{ statements }or{...} 例えば以下では1つ目のアクションでは、変数xの値が1増加し、2つ目のアクションでは、変数yの値が1増加する。 実行時に、これらのアクションのうちどちらか1つがランダムに選択され、実行される。 variables x = 0, y = 0; { either { x = x + 1; } or { y = y + 1; } } either-or の本体が await を含む場合、有効化されていない選択肢に制御が移ることはない。 これはしばしばマルチプロセス環境で複数の await 待機から有効化された処理のみを実行する目的で使用される。 with 集合Sの中からランダムに要素を選択し、body部分を実行する。Sが空集合の場合、実行されない。(ノンブロックであることに注意) with (id \in S ) { body } 例えば以下では、一時変数iに1から3の範囲の値が非決定的に割り当てられる。 その後、x = x + iというアクションが実行され、変数xの値がiだけ増加する。実行時に、iにどの値が割り当てられるかは非決定的となる。 variables x = 0; { with (i \in 1..3) { x = x + i; } } with ステートメントの中はラベルを設置することができない。 この制約からラベルを必須とする while などのいくつかの機能は with 内では使用することができない。 使い方によってはfor文の代わりにできるかも？ 並行処理に関する制御構文 並行処理について説明する。 プロセス プロセステンプレートを宣言し、複数のインスタンスをもつことができる。 PlusCalでは実行中に動的にプロセスを生成することはサポートされていない。 ( fair | fair+ ) process (ProcessName \in {Set}) variables anyname = anyvalues; { \*body } \* single procee ( fair | fair+ ) (process ProcessName = "p1") variables anyname = anyvalues; { \*body } プロセス内からプロセス番号にアクセスする場合は、selfでアクセスする。 ラベル ラベルの有効範囲はラベルを定義してから次のラベルが現れるまでの間となる。 原子性の粒度 ラベルは原子性の粒度を決定する。TLCはラベル内のものを1つのステップとして実行するもの(アトミック操作)とみなす。これは並行処理の検証において重要である。 ラベル内の全操作が完了するまで、他のプロセスはその途中の状態を観測できない、不可分な操作となる。 PlusCalをTLA+に変換すると現在のラベルを追跡する変数pcが定義される。(pcは「program counter」の略) ラベルを配置するルール ラベルは以下のルールに従って配置しなければならない。 各プロセスの開始と各while文の前にラベルを配置しなければならない。 マクロやwith文の中にラベルを配置してはならない。 goto文の後に必ずラベルを配置しなければならない。 eitherまたはifを使っていて、その中にラベルを含んでいる分岐がある場合は、制御構造が終わった後にラベルを配置しなければならない。 ラベル内で同じ変数に2回代入を行ってはならない。 補足：各プロセスの最後に暗黙のラベルDoneがある。Doneを自分で定義することはできないがgoto文でジャンプすることは可能。 ラベル内の変数への代入 ラベル内での変数の代入は1回しかできないという制約がある。そして以下のような場合、2回代入と判定されてしまう。 Struct.key1 = 1; Struct.key2 = 2; このような場合、”||”でつなぐことで1回の代入とみなされる。 Struct.key1 = 1 || Struct.key2 = 2; await 文 await condition ラベル付けされたステップ中に await 文が含まれているとき、TLC はその条件式が true となるまでそのステップを実行対象から除外する (await の位置で停止するわけではない点に注意)。 これは別のプロセスが条件式を true とするような作用を起こすことを暗に期待しており、プロセス間の同期ポイントと考えることができる。 await 文はステップ中のどこでも配置することができるが、そのステップに入る前に条件式が false であった場合、同一ステップ内で await より前に配置されている別の処理を実行しないまま停止する。 この直観的ではない挙動がしばしば混乱を引き起こすため、可能な限りラベルの直後に await 文を配置することを推奨する。 その他 assert文 exprがFALSEなら中断し、エラーメッセージが表示される。TLCモジュールをEXTENDSする必要がある。 assert expr; 補足：TLA+にもAssertがある(頭文字が大文字)。 expr が falseならmessageが表示される Assert(expr, message) print文 exprの内容を表示する。 print expr; skip文 何もしない。
https://w.atwiki.jp/aoeo_nadare/pages/18.html
■Crafting Hall Master 01.Craftsmen Rescue Find and escort the Craftsmen to your Town Center REPEATABLE - 12 HOURS CRAFTSMEN RESCUED 0/5 Rewards Choose one of Copper Ingots x 100 Pine Planks x 100 Stone blocks x 100 Grain x 100 Animal hides x 100 You will also receive 6,000 xp / 3 empire points Elite 8,881 xp / 4 empire points →アイテム製作や建築用の資源回収クエスト。クリア12時間経過で再度受注可能 →エリートはHP5000オーバー攻撃力300くらいのWarLeaderがいる。無視して迂回か、戦うなら準備は念入りに。 02.Craft Shipment Recovery Find and retrieve the lost Merchant Carts. REPEATABLE - 12 HOURS Merchant carts returned 0/5 Rewards Choose one of Bronze Ingots x 100 Oak Planks x 100 Granite Blocks x100 Olive Oil x 100 Leather x 100 You will also receive 15,000 xp / 7 empire point Elite 22,203 xp / 11 empire point →上級資源回収クエスト。受注はLv16以上で可能？
https://w.atwiki.jp/halo3umineko/pages/91.html
MAP Valhalla 目次 Valhalla名称 鍵になる兵器 スレイヤーの基本戦略 コメント・修正希望など 名称 MAPに定着させたいネーミングです。 鍵になる兵器 戦線を大きく変化させる兵器です。 バンシー ２台 ミサイルポッド ２台 スレイヤーの基本戦略 基本的に、拠点外で武器の入手できる場所は多くないので、無意味に突っ走らないように注意が必要。 序盤は、如何にしてバンシーを潰さないように運用するか。 中盤も同じように、バンシーを潰さないように運用するか。 そして、飛んでいるバンシーを、ミサイルポッドや、スパルタンレーザーで、どう潰すか。 とにかく、バンシーは恐ろしい。 コメント・修正希望など 名前 コメント 基地でキャンプしてるスナイパーにも注意です。 -- テムテム (2007-10-21 10 45 02) 中央に飛ぶジャンプの先にそれぞれバトルライフルがあるので、それを取りつつ中央のスパルタンレーザーを確保するのが大切です。 -- ななめ (2007-10-18 18 52 04)
https://w.atwiki.jp/tagami/pages/125.html
直接法のソルバー 複素値にも対応 公式サイト http //crd.lbl.gov/~xiaoye/SuperLU/ ソース（逐次版） http //crd.lbl.gov/~xiaoye/SuperLU/superlu_4.2.tar.gz cygwinにあらかじめインストールしておくもの（setup.exeから） gcc make tcsh インストール superlu_4.2.tar.gzをC \cygwin\home\userにおく 解凍 $ tar zxvf superlu_4.2.tar.gz superLUディレクトリに移動 $ cd SuperLU_4.2 インストール設定(make.inc)を編集（４か所） ############################################################################ # # Program SuperLU # # Module make.inc # # Purpose Top-level Definitions # # Creation date October 2, 1995 # # Modified February 4, 1997 Version 1.0 # November 15, 1997 Version 1.1 # September 1, 1999 Version 2.0 # ############################################################################ # # The machine (platform) identifier to append to the library names # PLAT = _linux # # The name of the libraries to be created/linked to # SuperLUroot= $(HOME)/Codes/SuperLU/SuperLU_4.2 ←$(HOME)/SuperLU_4.2に変更 SUPERLULIB = $(SuperLUroot)/lib/libsuperlu_4.2.a TMGLIB = libtmglib.a ## BLASLIB = $(SuperLUroot)/lib/libblas.a ←##を外す BLASDEF = -DUSE_VENDOR_BLAS ←#でコメントアウト BLASLIB = -L$(HOME)/lib/GotoBLAS -lgoto ←#でコメントアウト ## ATLAS BLAS causes single-precision to fail #BLASLIB = -L/usr/lib/atlas -lblas ## This BLAS causes single-precision to fail the test in SuperLU #BLASLIB = -L/usr/lib -lblas LIBS= $(SUPERLULIB) $(BLASLIB) # # The archiver and the flag(s) to use when building archive (library) # If your system has no ranlib, set RANLIB = echo. # ARCH = ar ARCHFLAGS = cr RANLIB = ranlib CC = gcc CFLAGS = -DPRNTlevel=0 -O3 NOOPTS = FORTRAN = g77 FFLAGS = -O2 LOADER = $(CC) LOADOPTS = # # C preprocessor defs for compilation for the Fortran interface # (-DNoChange, -DAdd_, -DAdd__, or -DUpCase) # CDEFS = -DAdd_ # # The directory in which Matlab is installed # MATLAB = /usr/sww/matlab 付属するblasのインストール(先にやる) $ make blaslib superLUのインストール $ make インストール確認（その１） INSTALLディレクトリに移動しmake. install.outが生成される ---- SINGLE PRECISION Epsilon = 5.960464e-08 Safe minimum = 1.175494e-38 Base = 2 Precision = 1.192093e-07 Number of digits in mantissa = 24 Rounding mode = 1 Minimum exponent = -125 Underflow threshold = 1.175494e-38 Largest exponent = 128 Overflow threshold = 3.402823e+38 Reciprocal of safe minimum = 8.507059e+37 ---- DOUBLE PRECISION Epsilon = 1.110223e-16 Safe minimum = 2.225074e-308 Base = 2 Precision = 2.220446e-16 Number of digits in mantissa = 53 Rounding mode = 1 Minimum exponent = -1021 Underflow threshold = 2.225074e-308 Largest exponent = 1024 Overflow threshold = 1.797693e+308 Reciprocal of safe minimum = 4.494233e+307 ---- TIMER Time for 100000 DAXPYs = 0.062 seconds DAXPY performance rate = 3.23 Gflops y[0]=1 Including DSECND, time = 0.047 seconds Average time for DSECND = 0.00047 milliseconds Equivalent floating point ops = 1.06e+18 ops インストール確認（その２） TESTINGディレクトリに移動しmake dtest.(blasでは単精度テストは動かない) dtest.outが生成される Double-precision testing output == LAPACK test matrices n=9 nrhs=5 lwork=0 All tests for DGE driver passed the threshold ( 1158 tests run) n=9 nrhs=5 lwork=10000000 All tests for DGE driver passed the threshold ( 1158 tests run) n=19 nrhs=5 lwork=0 All tests for DGE driver passed the threshold ( 1158 tests run) n=19 nrhs=5 lwork=10000000 All tests for DGE driver passed the threshold ( 1158 tests run) == sparse matrix g20.rua nrhs=5 lwork=0 g20, symm permuted by SYMMMD SYM All tests for DGE driver passed the threshold ( 144 tests run) nrhs=5 lwork=10000000 g20, symm permuted by SYMMMD SYM All tests for DGE driver passed the threshold ( 144 tests run) 同様にmake ctest,make ztestも実行可能. インストール確認（その３） EXAMPLEディレクトリに移動しmake. いろいろな例が実行可能（詳しくはEXAMPLEディレクトリ内のREADME） うまくいかなかったからmake cleanで最初からやり直せる
https://w.atwiki.jp/carstereo/pages/139.html
He s drinking cold Corona Feels like he s getting older Now and noticing how he s finding Grey hairs left in the shower Tattoos fade by the hour And he can´t understand these feelings Why life is getting him down He used to smile now he frowns And cries inside Its been this way for a while And he can´t seem to put things right When life has been unkind (ah ah ah) And you´re losing your mind (ah ah ah) Look in the mirror afraid of what you ll find It feels like time´s not on your side He doesn´t like to mention Applying for his pension So his children don t know he s heading Into a mid-life crisis He cant afford the prices for The new kitchen floor he´s buying He s been a drunk all his life Two kids, a dog and a wife He doesn´t know And in the daytime he just sits and watches television shows When life has been unkind And you´re losing your mind Look in the mirror afraid of what you ll find It feels like time´s not on your side dont know why but somehow The ones you love you hate now, you feel down and blue Look at what you ve thrown away They stood beside you all the way Now its too late, its too late for you When life has been unkind And you´re losing your mind Look in the mirror afraid of what you ll find It feels like time´s not on your side
https://w.atwiki.jp/remastercd/pages/31.html
ビリー・ジョエル／BILLY JOEL スタジオ 『コールド・スプリング・ハーバー〜ピアノの詩人』 - Cold Spring Harbor (1971) 『ピアノ・マン』 - Piano Man (1973) 『ストリートライフ・セレナーデ』 - Streetlife Serenade (1974) 『ニューヨーク物語』 - Turnstiles (1976) 『ストレンジャー』 - Stranger (1977) 『ニューヨーク52番街』 - 52nd Street (1978) 『グラス・ハウス』 - Glass Houses (1980) 『ナイロン・カーテン』 - The Nylon Curtain (1982) 『イノセント・マン』 - An Innocent Man (1983) 『ザ・ブリッジ』 - The Bridge (1986) 『ストーム・フロント』 - Storm Front (1989) 『リヴァー・オブ・ドリームス』 - River of Dreams (1993) 『ファンタジー・アンド・デリュージョンズ』 - Fantasies Delusions (2001) ライヴ 『ソングズ・イン・ジ・アティック』 - Songs in the Attic (1981) 『コンツェルト-ライヴ・イン・U.S.S.R.』 - КОНЦЕРТ (1987) 『ビリー・ザ・ライヴ』 - 2000 Years -The Millennium Concert- (2000) 『12ガーデンズ・ライヴ』 - 12 Gardens Live (2006) コンピレーション 『ビリー・ザ・ベスト』 - Greatest Hits Volume 1 2 (1985) 『ビリー・ザ・ベスト 3』 - Greatest Hits Volume 3 (1997) 『ビリー・ザ・ヒッツ』 - The Ultimate Collection (2000) 『エッセンシャル』- Essensial (2001) 『ピアノ・マン～ヴェリー・ベスト・オブ・ビリー・ジョエル』 - The Very Best of (2004) 『マイ・ライヴ』 - My Lives (2005)
https://w.atwiki.jp/j8w0yz/pages/121.html
Title Wham - Last Christmas lyrics Artist Wham Lyrics merry christmas Chorus Last Christmas I gave you my heart, But the very next day, You gave it away, (you gave it away) This year, to save me from tears, I ll give it to someone special, (special) REPEAT Verse 1 Once bitten and twice shy, I keep my distance but you still catch my eye, Tell me baby, do you recognise me, Well, it s been a year, it doesn t surprise me. Happy Christmas, I wrapped it up and sent it, With a note saying "I love you", I meant it, Now I know what a fool I ve been, But if you kiss me now, I know you d fool me again. Chorus Last Christmas I gave you my heart, But the very next day, You gave it away (you gave it away), This year to save me from tears, I ll give it to someone special (special). Repeat Oh, Oh Baby. Verse 2 A crowded room, friends with tired eyes, I m hiding from you and your soul of ice, My God I thought you were, Someone to rely on, Me, I guess I was a shoulder to cry on. A face on a lover with a fire in his heart, A man undercover but you tore me apart, Oooh Ooh, Now I ve found a real love, You ll never fool me again. Chorus Last Christmas I gave you my heart, But the very next day, You gave it away (you gave it away), This year to save me from tears, I ll give it to someone special (special). Repeat Face on a lover with a fire in his heart, A man undercover but you tore him apart. Maybe next year. I ll give it to someone, I ll give it to someone special . Special... Someone...