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https://w.atwiki.jp/altmcws/pages/21.html
TIMER ScriptVOTE COUNTER ScriptGrammarian DutiesTable Topics Master Do s and Don tsEvaluatior Do s and Don tsJargonsTIMER My job as the Timer is to keep track of the time each table topic speaker, prepared speaker, and evaluator spends. The timing starts with the first verbal or non-verbal form of communication with the audience. Each table topic speaker is given two minutes. I will raise the green card when the speaker has spoken for one minute, the amber card at one minute and 30, and the red at two minutes. The speaker must wind up his or her remarks within 30 seconds after the red card, although it will remain displayed until the speech is concluded. Any speaker who speaks for less than one minute or more than two minutes 30 is eligible for awards. Each evaluator is given three minutes. The timing is two minute, two minute and 30, and three minutes. followed by the 30-seconds leeway after red. Timing for each prepared speaker depends on his or her project. For today the first three speakers will speak for four to six minutes, and the fans will be raised at four, five, and six. The fourth speaker will speak for eight to ten minutes and the timing will be eight, nine, and ten followed by 30-seconds leeway. (I also time one minute of silence between prepared speeches, for you to write feedback to prepared speakers. I will report the result of timing at the end of each session.) Timer s Report First speaker (Name) spoke for 1minute 30 (seconds） Second speaker (Name) ...VOTE COUNTER My role as vote counter is to count the number of votes after each session to choose the best speaker of the session. Please fill in your ballot and cast it in these boxes. I will tally the vote and pass the results to TMOD. At the end of the meeting, TMOD announces the Best Table Topics Speaker, the Best Evaluator, and the Best Prepared Speaker. All speakers, please do your best.Grammarian Duties Records grammatical errors and nice expressions made during the meeting and report.Makes a GRAHCO report toward the end of the meeting.Table Topics Master * First state your table topics question, and then assign. This allows audience to get involved as they think they might be assigned. * Create topics that are short and answerable. * Whenever possible don t offer Table Topics participation to scheduled speakers so that they can concentrate on their roles Evaluator Here are tips to help your evaluation * Contact your assigned speaker prior to the meeting to know the title, the project number and the objectives of the speaker s project. Evaluators often request the speech script in advance. * Make your evaluation based on the objectives of the speech.. * Evaluations that is all praise is called a white Wash. Try to find at least one suggestion for improvement no matter how good the speech is. * Your evaluation is only your opinion. Avoid expressions that sound authoritative such as you should have , We thought and Why did you . More honest and suitable expressions are I think and I felt . * Ａlways remember to show respect to the speaker, and conclude your evaluation in a positive and upbeat tone. Give your evaluation in a manner that the speaker feels encouraged. * Your evaluation is intended for the improvement of the speaker. Don t make it an opportunity to create your own speech , embarras the person or boast your knowledge.JARGONSSAA reads surgent at arms . This officer welcomes guests at the door and arrange for venue, meal reservations and cancellations.TM reads toastmaster and not tea em . When you call a member during a meeting, say toastmaster so and so .Vote counter handles ballots used at regular meetings. Only one name is written in this ballot used to choose the best table topics speaker, best evaluater and best prepared speaker respectively. Tally counter handles tally sheets used at contests. The first, second, and third best speakers are written in each sheet used by contest judges and the results are tallied. Therefore the sheet is called a tally sheet, and not a ballot, and the role is called the Tally counter. The information on this Web site is for the sole use of Toastmasters’members, for Toastmasters business only. It is not to be used for solicitation and distribution of non-Toastmasters materials or information. (c) 2005-2010 Aoyama Lunch Toastmasters Club The names Toastmasters International , Toastmasters and the Toastmasters International emblem are trademarks protected in the United States, Canada and other countries where Toastmasters Clubs exist. Unauthorized use is strictly prohibited.
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略語 数字・記号 8DPSK [Bluetooth] 8 phase Differential Phase Shift Keying、3 Mbps modulation type used by Enhanced Data rate π/4 DQPSK [Bluetooth] pi/4 Rotated Differential Quaternary Phase Shift Keying、2 Mbps modulation type used by Enhanced Data Rate A A2MP [Bluetooth] AMP Manager Protocol AA [WLAN] Authenticator address AACS [AACS] Advanced Access Content System AACS LA [AACS] AACS Licensing Administrator, LLC AAD [Bluetooth][WLAN] Additional Authentical Data AC [Bluetooth][WLAN] Access Category ACI [Bluetooth][WLAN] Access Category Index ACK Acknowledge/ACKnowledgement ACL [Bluetooth] Asynchronous Connection-oriented [logical transport]、Reliable or time-bounded, bi-directional, point-to-point. ACL-C [Bluetooth] ACL Control [logical link] (LMP) ACL-U [Bluetooth] ACL User [logical link] (L2CAP) ACM [WLAN] Admission Control Mandatory ACO [Bluetooth] Authenticated Ciphering Offset ACU [WLAN] Admission Control Unit ADDBA [WLAN] Add Block Acknowledgment ADDTS [WLAN] Add Traffic Stream AES [Security] Advanced Encryption Standard AFH [Bluetooth] Adaptive Frequency Hopping AHB [USB][ARM] Advanced High-performance bus AHS [Bluetooth] Adapted Hop Sequence AID [WLAN] Association IDentifier AIDL Android Interface Definition Language AIFS [WLAN] Arbitration Interframe Space AIFSN [WLAN] Arbitration Interframe Space Number AKM [WLAN] Authentication and Key Management AKMP [WLAN] Authentication and Key Management Protocol AMP [Bluetooth] Alternate MAC PHY AMP_ASSOC [Bluetooth] Alternate MAC PHY association information ANF Advanced Navigation File ANonce Authenticator Nonce ANSI [Organization] American National Standards Institute AODV Ad hoc On-Demand Distance Vector、アドホックオンデマンド距離ベクトル AP Access Point APSD Automatic Power-Save Delivery APSTB Analog Protection System Trigger Bits AR_ADDR [Bluetooth] Access Request Address ARF Advanced Resource File ARQ [Bluetooth] Automatic Repeat Request ARP [Network] Address Resolution Protocol ART [Wireless] Auto Re-Transmit AS Authentication Server ASB [Bluetooth] Active Slave Broadcast [logical transport]、Unreliable, uni-directional broadcast to any devices synchronized with the physical channel. ASB-U [Bluetooth] ASB User [logical link] (L2CAP) ASBJ Accounting Standards Board of Japan、企業会計基準委員会 ASN.1 Abstract Syntax Notation One、抽象構文記法１ ATC [HDMI] Authorized Testing Center ATIM [WLAN] Announcement Traffic Indication Message ATLE [USB][NXP] Auto Transfer Length Extraction ATSC [HDMI] Advanced Television System Committee ATX [USB][NXP] Analog Transceiver AV Audio-Visual AVCTP [Bluetooth] Audio/Video Control Transport Protocol AVDTP [Bluetooth] Audio/Video Distribution Transport Protocol B BB Baseband BCA Burst Cutting Area BCH Bose, Chaudhuri Hocquenghem、Type of code. The persons who discovered these codes in 1959 (H) and 1960 (B C) BCSP [Bluetooth] !BlueCore Serial Protocol BD Blu-ray Disc BD_ADDR [Bluetooth] Bluetooth Device Address BDAV Blu-ray Disc Audio Visual BDMV Blu-ray Disc Movie BD-R Blu-ray Disc Recordable Media BD-RE Blu-ray Disc Rewritable Media BD-ROM Blu-ray Disc Read-Only Media BEE [AACS] Bus Encryption Enabled BER Bit Error Rate BT Bandwidth Time BURS [AACS] Binding for Usage Rule Set C CAC [Bluetooth] Channel Access Code CBC [Security] Cipher Block Chaining CCI [AACS] Copy Control Information CCMP CTR with CBC-MAC Protocol CE [Circuit] Chip Enable CE Consumer Electronics CEC [HDMI] Consumer Electronics Control CGMS Copy Generation Management System CHT [AACS] Content Hash Table CKLN Native Clock CL Connectionless CLK [Circuit] Clock CLK [Bluetooth] Master Clock CLKE [Bluetooth] Estimated Clock CMAC Cipher based Message Authentication Code CODEC COder DECoder COF [Bluetooth] Ciphering Offset CPI [AACS] Content Protection Information CPRM Content Protection for Recordable Media CPR_MAI Copyright Management Information CPS [AACS] Content Protection System CRC Cyclic Redundancy Check CRL [AACS] Content Revocation List CSN [Circuit Chip Select NOT CSR [Company] Cambridge Silicon Radio CSS Content Scramble System CTS Clear to send CTS [HDMI] Compliance Testing Specification CVSD Continuous Variable Slope Delta Modulation D DA [Bluetooth] Destination address DAC [Bluetooth] Device Access Code DAP [Processor] Debug Access Port DCE Data Communication Equipment DCE Data Circuit-Terminating Equipment、In serial communications, DCE refers to a device between the communication endpoints whose sole task is to facilitate the communications process; typically a modem DCI [Bluetooth] Default Check Initialization DD [NXP] DMA Descriptor DDC [HDMI] Display Data Channel DDMS [Android] Dalvik Debug Monitor Service DDP [NXP] DMA Description Pointer DEVM Differential Error Vector Magnitude、Measure of modulation error used for Enhanced Data Rate transmitter testing DFS [Bluetooth] Dynamic Frequency Selection DH [Bluetooth] Data-High Rate、Data packet type for high rate data DHCP [Network] Dynamic Host Configuration Protocol DIAC [Bluetooth] Dedicated Inquiry Access Code DLCI Data Link Connection Identifier DM [Bluetooth] Data-Medium Rate、Data packet type for medium rate data DMA Direct Memory Access DOP [GPS] Dilution Of Precision、精度低下率 DPSK Differential Phase Shift Keying、Generic description of Enhanced Data Rate modulation DQPSK Differential Quaternary Phase Shift Keying、Modulation type used by Enhanced Data Rate DRL [AACS] Drive Revocation List DSA Digital Signature Algorithm DSAP [Bluetooth] Destination Service Access Point DSD [HDMI] Direct-Stream Digital DTCP [Network][Security] Digital Transmission Content Protection DTE Data Terminal Equipment、In serial communications, DTE refers to a device at the endpoint of the communications path; typically a computer or terminal. DTS Digital Theater Systems DTV Digital televisions DUN [AACS] Device Unique Nonce DUT [Bluetooth] Device Under Test DV [Bluetooth] Data Voice、Data packet type for data and voice DVD Digital Versatile Disc DVI Digital Visual Interface E ECB Electronic Codebook ECC Error Correction Code ECDSA Elliptic Curve based Digital Signature Algorithm ECMA [Organization] European Computer Manufacturers Association ECWmax [Bluetooth] Enhanced Contention Window maximum ECWmin [Bluetooth] Enhanced Contention Window minimum ED [Bluetooth] Erroneous Data EDCA [Bluetooth] Enhanced Distributed Channel Access EDID[HDMI] Extended Display Identification Data EDR [Bluetooth] Enhanced Data Rate EFS [Bluetooth] Extended Flow Specification EFS [File System] Encrypting File System EGNOS [GPS] European Geostationary Navigation Overlay Service EIR [Bluetooth] Extended Inquiry Response、Host supplied information transmitted in the inquiry responses substate. EIRP [Bluetooth] Effective Isotropic Radiated Power、Equivalent power that an isotropic antenna must transmit to provide the same field power density EMMS [Network][Security] Electronic Media Management System EOP [USB] End-Of-Packet EP [USB] Endpoint EPN Encryption Plus Non-assertion EPR [Bluetooth] Encryption Pause Resume、Mode allowing the device to initiate the pause and resume encryption sequence EP_RAM [USB][NXP] Endpoint RAM ERP [Bluetooth] Extended Rate PHY conforming to Clause 19 eSCO [Bluetooth] Extended Synchronous Connection Oriented [logical transport]、Bi-directional, symmetric or asymmetric, point-to-point, general regular data, limited retransmission. eSCO-S [Bluetooth] Stream eSCO (unframed)、used to support isochronous data delivered in a stream without framing ESB [Wireless] Enhanced !ShockBurst ESS [Bluetooth] Extended Service Set EST [AACS] Electronic Sell Through ETSI [Organization] European Telecommunications Standards Institute EVOB [DVD] Enhanced VOB F FCC [Organization] Federal Communications Commission FEC Forward Error Correction code FFD [IEEE802.15.4] Full-Function Device FH [Bluetooth] Frequency Hopping FHS [Bluetooth] Frequency Hop Synchronization FIFO First In First Out FIPS Federal Information Processing Standards FM Frequency Modulation、Modulation Type FS [USB] Full Speed G GDOP [GPS] Geometrical Dilution Of Precision、幾何学的精度低下率 GFSK [Wireless] Gaussian Frequency Shift Keying GIAC [Bluetooth] General Inquiry Access Code GMS [GPS] Ground Monitor Station、監視局 GPMC [Processor] General-Purpose Memory Controller GUID Global Unique Identifier H HCI [Bluetooth] Host Controller Interface HD DVD High-Definition Digital Versatile Disc HDCP High-bandwidth Digital Content Protection HDMI [HDMI] High-Definition Multimedia Interface HDOP [GPS] Horizontal Dilution Of Precision、水平精度低下率 HEC Header-Error-Check HID Human Interface Device HRL [AACS] Host Revocation List HTTP [Network] Hypertext Transfer Protocol HTTPS [Network] Secure Hypertext Transfer Protocol HV [Bluetooth] High quality Voice、e.g. HV1 packet HW Hardware I IAC [Bluetooth] Inquiry Access Code IAS International Accounting standards、国際会計基準 IASB International Accounting Standards Board、国際会計基準審議会 IASC International Accounting Standards Committee、国際会計基準委員会 ICAO [GPS] International Civil Aviation Organization、国際民間航空機関 ID Identifier IEEE [Organization] Institute of Electronic and Electrical Engineers IETF [Organization] Internet Engineering Task Force IFRS International Financial Reporting Standards、国際会計基準 or 国際財務報告基準 ILVU [DVD] Interleave Unit IP Internet Protocol IPC Inter Process Communication IPR Intellectual Property Right、知的所有権 IrDA Infra-red Data Association IRQ Interrupt Request ISAN International Standard Audiovisual Number ISM [Wireless] Industrial, Scientific, Medical IUT [Bluetooth] Implementation Under Test J JSON JavaScript Object Notation K KCD [AACS] Key Conversion Data L L2CAP [Bluetooth] Logical Link Control and Adaptation Protocol LAP [Bluetooth] | Lower Address Part LC [Bluetooth] Link Controller、Link Controller (or baseband) part of the Bluetooth protocol stack. Low level Baseband protocol handler LC [Bluetooth] Link Control [logical link]、The control logical links LC and ACL-C are used at the link control level and link manager level, respectively. LCP [Bluetooth] Link Control Protocol LDO Low-!DropOut LED Light Emitting Diode LFSR Linear Feedback Shift Register、線形帰還シフトレジスタ LLID [Bluetooth] Logical Link Identifier LM [Bluetooth] Link Manager LMP [Bluetooth] Link Manager Protocol、For LM peer to peer communication LNA [Wireless] Low Noise Amplifier LR Loudness Rating LS [USB] Low Speed LSB Least Significant Bit LSByte Least Significant Byte LSN Logical Sector Number LSTO [Bluetooth] Link Supervision Timeout Event、Controller can send LSTO event to Host LT_ADDR [Bluetooth] Logical Transport ADDRess M M Master or mandatory M2M Machine-to-Machine or Machine-to-Management MAC Medium Access Control MAC [Security] Message Authentication Code Mbps Million(Mega) bits per second MCM [AACS] Managed Copy Machine MCOT [AACS] Managed Copy Output Technology MCS [GPS] Master Control Station、航法統制局 MCS [AACS] Managed Copy Server MCU Micro Controller Unit MCU [AACS] Managed Copy Unit MISO Master In Slave Out MITM [Security] Man-in-the-middle MKB [AACS] Media Key Block MMI Man Machine Interface MOD [AACS] Manufacturing On Demand MOSI Master Out Slave In MPEG Moving Picture Experts Group MPS [USB][NXP] Maximum Packet Size MRS [GPS] Monitor and Ranging Station、 標定局 MS Mobile Station MSAS [GPS] MTSAT Satellite-based Augmentation System、運輸多目的衛星用衛星航法補強システム MSB Most Significant Bit MSByte Most Significant Byte MSC [Bluetooth] Message Sequence Chart MTD Memory Technology Device MSK [Wireless] Minimum Shift Keying MTSAT [GPS] Multi-functional Transport Satellite、運輸多目的衛星 MTU Maximum Transmission Unit N NAK Negative Acknowledge NAP [Bluetooth] Non-significant Address Part NCS [GPS] Network Communication Subsystem、ネットワーク通信システム NIST National Institute of Standards and Technology == O == O Optional OBEX OBject EXchange protocol OCDMA Optical Code Division Multiple Access、光符号分割多重アクセス OCF [Bluetooth] !OpCode Command Field OCM [Processor] On Chip Memory OGF [Bluetooth] !OpCode Group Field OOK [Wireless] On Off Keying OOM Out Of Memory P PAL [Bluetooth] Protocol Adaptation Layer PAM [Security] Pluggable Authentication Module PBF [Bluetooth] Packet Boundary Flag、The device supports the capability to correctly handle HCI ACL Data Packets PC Personal Computer PCB Printed Circuit Board PCM Pulse Coded Modulation PDOP [GPS] Position Dilution Of Precision、位置精度低下率 PDU Protocol Data Unit、a message PER Packet Error Rate PGC [DVD] Program Chain PGP [Security] Pretty Good Privacy PID Packet Identity Bits PIN [Bluetooth] Personal Identification Number PKI [Security] Public Key Infrastructure PLD Payload PLL [Circuit] Phase Locked Loop PM_ADDR [Bluetooth] Parked Member Address PMK [WLAN] Pairwise Master Key PMP [Bluetooth] Participant in Multiple Piconets PMSN [AACS] Pre-recorded Media Serial Number PN Pseudo-random Noise PPM Part Per Million PPP Point-to-Point Protocol PRBS Pseudo Random Bit Sequence PRNG Pseudo Random Noise Generation PRX [Wireless] Primary RX PSB [Bluetooth] Parked Slave Broadcast [logical transport]、Unreliable, uni-derectional broadcast to all piconet devices PSB-C [Bluetooth] PSB Control [logical link] (LMP) PSB-U [Bluetooth] PSB User [logical link] (L2CAP) PSK Phase Shift Keying、Class of modulation type PSN Physical Sector Number PSRR Power Supply Rejection Ratio PSTN Public Switched Telephone Network PTK [WLAN] Pairwise Transient Key ptt [Bluetooth] Packet Type Table、The ptt parameter is used to select the logical transport type via LMP PTX [Wireless] Primary TX PV [AACS] Prepared Video PVAS [AACS] Prepared Video Authorizing Server PVC [AACS] Prepared Video Content PVCC [AACS] Prepared Video Content Certificate PVSN [AACS] Prepared Video Serial Number PVT [AACS] Prepared Video Token PWR_DWN Power Down PWR_UP Power Up Q QoS Quality of Service R RAM Random Access Memory RAND Random number RDOP [GPS] Relative Dilution Of Precision、相対精度低下率 RF Radio Frequency RFC Request For Comments RFCMode Retransmission and Flow Control Mode RFCOMM [Bluetooth] Serial cable emulation protocol based on ETSI TS 07.10 RMF ROM-Mark Flag RMIVI ROM_Mark_IV_Indicator RMRR [AACS] Recordable Media Revocation Record RMS Root Mean Square RNG [Security] Random Number Generator RSSI [Wireless] Received Signal Strength Indication RX Receive RX_DR Receive Data Ready S S [Bluetooth] Slave SAP [Bluetooth] Service Access Points SAR Segmentation and Reassembly SBAS [GPS] Satellite Based Augmentation System、静止衛星型衛星航法補強システム SBC [Bluetooth] !SubBand Codec SCMS Serial Copy Management System、IEC60958で指定されるチャンネルステータスの著作権保護ビット及びカテゴリーコードによるコピーの世代管理の為の情報 SCO [Bluetooth] Synchronous Connection-Oriented [logical transport]、Bi-directional, symmetric, point-to-point, AV channels. SCO-S [Bluetooth] Stream SCO (unframed) SCO-S [Bluetooth] Synchronous logical link、used to support isochronous data delivered in a stream without framing SD [Bluetooth] Service Discovery SDP [Bluetooth] Service Discovery Protocol SDRC [Processor] SDRAM controller SDU Service Data Unit SEQN [Bluetooth] Sequential Numbering scheme SHA [Security] Secure Hashing Algorithm SIE [NXP] Serial Interface Engine SKB [AACS] Sequence Key Block SLR Send Loudness Ring SOA Service Oriented Architecture SOAP Simple Object Access Protocol、注）仕様Version1.2からは、略語ではなく固有名詞扱いになった。 SOF [USB] Start-Of-Frame SPDIF[Audio] Sony Philips Digital !InterFace SPI Serial Peripheral Interface SRAM Synchronous RAM SRES Signed Response SRM System Renewability Message SS [Bluetooth] Supplementary Services SSH [wiki SecureShell Secure Shell] SSI Signal Strength Indication SSP [Bluetooth] Secure Simple Pairing、Simplifies the pairing process and improves Bluetooth security. SSR [Bluetooth] Sniff Subrating、A mode that defines the anchor points at which the master transmits to the slave. SW Software T TBD To Be Defined TBTT [WLAN] Target Beacon Transmission Time TC [Bluetooth] Test Control、Test Control layer for the test interface TCI [Bluetooth] Test Control Interface TCP/IP Transport Control Protocol/Internet Protocol TCS [Bluetooth] Telephony Control protocol Specification TDD Time-Division Duplex TDOP [GPS] Time Dilution Of Precision、時刻精度低下率 TKF [AACS] Title Key File TMDS [HDMI] Transition-Minimized Differential Signaling TN [AACS] Temporary Nonce TUF [AACS] Title Usage File TX Transmit TX_DS Transmit Data Sent U UAP [Bluetooth] Upper Address Part UART Universal Asynchronous receiver Transmitter UDCA [USB][NXP] USB Device Communication Area UDDI Universal Description, Discovery and Integration UI User Interface UI [Bluetooth] Unnumbered Information ULAP [Bluetooth] Upper and Lower Address Parts URB [USB] USB Request Block URI Uniform Resource Identifier URL Uniform Resource Locator USB [USB] Universal Serial Bus UUID [Bluetooth] Universal Unique Identifier V VDOP [GPS] Vertical Dilution Of Precision、垂直精度低下率 VFS Virtual File System VOB [DVD] Video Object VOBU [DVD] Video Object Unit VRFB [Processor] Virtual Rotated Frame Buffer VTS [DVD] Video Title Set W W3C [Organization] World Wide Web Consortium WAAS [GPS] Wide Area Augmentation System WAE [Bluetooth] Wireless Application Environment WAP [Bluetooth] Wireless Application Protocol WML [Bluetooth] Wireless Markup Language WPC [Organization] Wireless Power Consortium WSDL Web Services Description Language X XML eXtensible Markup Language XSL Extensible Stylesheet Language XSLT XML Stylesheet Language Transformations
https://w.atwiki.jp/ragbeat/pages/27.html
+ Chapter.1-7 + 『ロゴ追加とかそんな感じで』 2009/03/10 01 35 (´・ω・)ノ＜やっほー、皆のアイドル聖さんだよー♪ TopページのロゴやA.R.M.Sのロゴなんかを追加したりバナーを追加したり、と画像加工をして遊んでみました。 実を言うと聖さん、こういった地味な画像加工やテクスチャもどきの制作はお得意っていうか、好きだったりします。 ちなみに使ってるツールはAz Painter。アズちゃんオススメですよ。フォトショみたく重たくないですし。フリーですし。 そのくせフィルタ機能とかフォトショ並に便利。 ACｆAは前回晒したアセンから核ミサをBFF分裂に、中砂砲を050レーダーに、と軽量したら脚部がNSSからランセルに変更できました。 BFF分裂と腕バズ、中距離が一番強いですね。距離300ぐらいが。 BFFが近距離でも振り回せるので腕バズとのクロスでも良し、遠距離でのシングルでもそれなりに機能、と素敵です。 ただ難点は長期戦になると（というかきのこると）腕バズが弾切れする……。 かといって腕バズが切れた後の主武装なんて背負うのも微妙だし。 というか地味にレーダー使えるしね。ブースターがアルギュだからさ、なにかあっても一度離脱する余裕があるんです。 だからレーダーは便利。……とはいってもやっぱ腕バズが弾切れしたあとにミサイルしかやることが無いのも残念。 む、むむむ……アセンって奥深い。
https://w.atwiki.jp/hotmilk005/pages/32.html
クラス変成 NSObject ↓ NSResponder ↓ NSView ビューのスクロールさせます NSTextView *textView=[[NSTextView alloc]init]; textView.frame=CGRectMake(0, 0, 200, 1000); textView.string=@"1\n2\n3\n4\n5\n6\n7\n8\n9"; NSScrollView *scrollView = [[NSScrollView alloc] init]; scrollView.frame=CGRectMake(100, 100, 100, 100); [scrollView setBorderType NSBezelBorder]; [scrollView setHasVerticalScroller YES]; [scrollView setHasHorizontalScroller YES]; [scrollView setDocumentView textView]; [self.window.contentView addSubview scrollView]; テーブルビューinスクロールビュー NSTableView *tcv=[[NSTableView alloc]initWithFrame CGRectMake(0, 0, 300, 100)]; NSTableColumn *coll_1=[[NSTableColumn alloc]initWithIdentifier @"coll_1"]; NSTableColumn *coll_2=[[NSTableColumn alloc]initWithIdentifier @"coll_2"]; [tcv addTableColumn coll_1]; [tcv addTableColumn coll_2]; tcv.delegate=self; tcv.dataSource=self; NSScrollView *scrollView = [[NSScrollView alloc] init]; scrollView.frame=CGRectMake(100, 100, 300, 100); [scrollView setBorderType NSBezelBorder]; [scrollView setHasVerticalScroller YES]; [scrollView setHasHorizontalScroller YES]; [scrollView setDocumentView tcv]; [self.window.contentView addSubview scrollView]; メソッド名 メソッドの効果 - (void)setBorderType (NSBorderType)borderType ボーダーの設定 - (void)setHasVerticalScroller (BOOL)flag 垂直スクロールの有無 - (void)setHasHorizontalScroller (BOOL)flag 水平スクロールの有無 - (void)setDocumentView (NSView *)aView スクロールビューにスクロールするビューを乗せる
https://w.atwiki.jp/oper/pages/1308.html
ATTO II Scena Prima (Cortile Del Palazzo Delle Amazzoni Ippolita, poi Antiope) IPPOLITA Onde chiare che sussurrate, ruscelletti che mormorate, consolate il mio desio; dite almeno all idol mio la mia pena e la mia brama. "Ama," risponde il rio, "Ama," la tortorella, "Ama," la rondinella. Vieni, vieni, o mio diletto, ch il mio core tutto affetto già t aspetta e già ti chiama. Quanto per me fatale fu la pietà di chi mi tolse al morso del fiero orribil orso ah fosse almen presente, come al pensiero, anche agli sguardi miei! ANTIOPE (entrando) Germana il Ciel, gli dei secondar le nostri armi. IPPOLITA Alla causa più giusta arrise il Ciel. ANTIOPE Ma la rapita prole io pur sospiro, e nel comun contento sola Antiope si duole. IPPOLITA Spera, chi sa? ANTIOPE Pur ora intesi esser tra i greci schiavi uno che al volto e alle belle armi molto sembra tra lor distinto. IPPOLITA (Fra sè) Ah fosse almeno l idolo del mio cor. ANTIOPE E il destinai a placar il furor che ascondo in seno. IPPOLITA Si, ricomprar con esso vuoi la figlia diletta. ANTIOPE Anzi giurai svenarlo, vittima a Cinzia e alla mia vendetta. IPPOLITA Pensa al periglio a cui la figlia esponi. ANTIOPE A greci ignoto è per anche il mio voto. Men vò; tra i prigionieri poi sceglierò chi più convien che fia vittima al mio furore. IPPOLITA (Fra sè) Non fate, o numi, che scelga mai chi adora l alma mia. ANTIOPE Bel piacer ch è la vendetta quando alletta un nobil core, se l offesa con offesa giunger puote a vendicar. Di giust ira un alma accesa il suo vindice furore con ragione solo aspetta l empio sangue dissetar. IPPOLITA Palpita per timore il core amante che riveder vorria l amato bene, ma nol vorria veder fra le catene. Da due venti un mal turbato sembra il misero mio seno il veleno del timore, e la speme dell amor. Ma sospirando vado cercando quel che più teme il cor che geme di due tiranni sotto gl affanni speme e timor. Scena Seconda (Tempio Di Diana. Piazza avanti il regio palazzo. Antiope, Ippolita, Teseo ed altri schiavi e guardie) ANTIOPE Olà doppie ritorte stringano il prigioniero. IPPOLITA Olà togliete a quel piede gentile ogni laccio servil. ANTIOPE Traggasi a morte. IPPOLITA Rendasi in libertà. ANTIOPE Con quale orgoglio Ippolita s oppone al cenno mio? IPPOLITA Con quello di regina. ANTIOPE Io sol dal soglio le leggi detto. IPPOLITA E qui commando anch io. TESEO (Fra sè) O destino! In due cori gareggiano per me gl odi e gl amori. IPPOLITA Cieca, tu non rifletti di Martesia al periglio? ANTIOPE Di natura il consiglio luogo non ha ne voti fatti al cielo. IPPOLITA A sì barbaro zelo io m opporrò. ANTIOPE Vedrem chi avrà più forza. IPPOLITA Ugual teco mi diero la sorte e il natal possanza e impero. ANTIOPE Pur che appaghi un giusto sdegno la vendetta ancor mi piace, che tormenta e dà dolor. E alla mia fortuna ria offro lieta e vita e regno per dar pace al mio furor. (parte) IPPOLITA Prence, tu prigioniero? TESEO Bella, mi vedi trofeo d Amor più che di Marte; io diedi il piede volontario alle ritorte sol per dar vita al core, ch era, lungi da te, vicino a morte. IPPOLITA E quali arti infelici, prence, son mai le tue? Per conservare un cor perderne due? TESEO Perché? IPPOLITA Dunque non sai che Antiope irata giurò svenarti, vittima al suo sdegno? TESEO Sarà men disperata almen la morte mia quand io sia degno di spirar, bella mia, sugl occhi tuoi. IPPOLITA Ingrato e creder puoi, ch io possa mai soffrire di vederti morire e non morire? TESEO No, vivi, e in te conserva di me la miglior parte; un tuo sospiro, una lacrima sola ch esca dal petto tuo, da tuoi bei lumi, tutto l orrore alla mia morte invola. IPPOLITA No, no vanne, Teseo, e a miglior sorte serba la vita tua, e in un la mia; ritorna in libertà. TESEO Che tirannia! È l istesso che dir "vanne a morire." IPPOLITA Crudel dunque ricusi dalla mia man di libertade il dono? TESEO Ah, questo è un don che dà morte al cor mio, s accettar nol poss io, chieggio, o cara, perdono. IPPOLITA Che risolvi? TESEO Disponga, Amor, di me come gl’aggrada e piace; so che lungi da te l amante core né viver sa, né sa trovar mai pace ma tu, perché non m ami? Vuoi, col falso pretesto di darmi libertà, che da te lungi porti le meste piante? IPPOLITA Non t amo? TESEO No; che mai l oggetto amato da sé non può bandire un core amante. IPPOLITA Sì, bel volto, che ti adoro, sì begl occhi, per voi moro, né giammai vi lascierò. Credi a me, mio ben, per te il mio core è tutto amore e morir ancor saprò. Scena Terza (Spiaggia Delle Amazzoni. Padiglioni del esercito greco in veduta della città. Martesia, Alceste e soldati, e poi Telamone e guardie) ALCESTE Bella, di Sparta il trono è spregievol così che il tuo rifiuto meriti, allor ch io tel presento in dono? MARTESIA Ma per farmi reina tu vuoi che a te mi renda schiava e il core cambi col tuo? ALCESTE Tu non l intendi; Amore con invisibil mano fa questo cambio. Io degl affetti tuoi divengo unico oggetto, e tu de miei. MARTESIA Dunque allora non potrei amar altri, che te? ALCESTE Sì d Imeneo dispongono le leggi. MARTESIA E neppur lice amar la genitrice? ALCESTE La Madre amar si dee, ma questo affetto, non men che amor, si può chiamar rispetto quel che unisce al consorte è un altro forte laccio, che tien gl’animi avvinti insino a morte. MARTESIA Se così fosse, io l alma men ritrosa già sentirei di divenir tua sposa. ALCESTE Dunque mia tu sarai? MARTESIA Chi sa? Il mio core non vi ripugna. ALCESTE Io ti ringrazio, Amore, giacché sperar mi fai; bella non ingannar la mia speranza, ch io spero si, mà temo, né so ancora se pari alla beltade hai la costanza. Io sembro appunto quell augelletto ch al fin scampò da quella rete, che ritrovò ascosa trà le fronde. Ché, se ben sciolto, solo soletto volando va; pur timido non sa dove rivolga il piè, sì del passato rischio ei si confonde. (parte) TELAMONE (entrando) Ad onta della sorte, che tanto arride al mio rivale, io spero, Martesia, alfi n di stringerti consorte. MARTESIA E Telamone ancora mi vuol sua sposa? E come, o Ciel, poss io per render paghe ancor le brame tue, divider il mio cor e darlo a due? TELAMONE Chi altri mai lo pretende? MARTESIA Alceste, e se il mio core a lui dar voglio, mi fa regina in Sparta. TELAMONE Non ha pregio minor d Itaca il soglio tu meco regnerai lieta e felice. MARTESIA Ma se amare non lice allora altri che un solo, e come, o dei, due consorti in un tempo amar dovrei? TELAMONE Se a me t unisce amore esser non puoi d Alceste. MARTESIA E perché mai? TELAMONE Perché sono d Imeneo queste le leggi or tu di me o di lui, qual più ti piace, in tuo consorte eleggi. MARTESIA Qual più mi piace? TELAMONE Sì. MARTESIA Siete ambedue di grado e merto uguale, ma se non lice a me prenderne due, Alceste nel piacer mi a te prevale. Ei nel volto ha un non so che, che m alletta e mi piace più di te. Mi diletta se lo miro, ma sospiro, né so dir come o perché. ATTO II Scena Prima (Cortile Del Palazzo Delle Amazzoni Ippolita, poi Antiope) IPPOLITA Onde chiare che sussurrate, ruscelletti che mormorate, consolate il mio desio; dite almeno all idol mio la mia pena e la mia brama. "Ama," risponde il rio, "Ama," la tortorella, "Ama," la rondinella. Vieni, vieni, o mio diletto, ch il mio core tutto affetto già t aspetta e già ti chiama. Quanto per me fatale fu la pietà di chi mi tolse al morso del fiero orribil orso ah fosse almen presente, come al pensiero, anche agli sguardi miei! ANTIOPE (entrando) Germana il Ciel, gli dei secondar le nostri armi. IPPOLITA Alla causa più giusta arrise il Ciel. ANTIOPE Ma la rapita prole io pur sospiro, e nel comun contento sola Antiope si duole. IPPOLITA Spera, chi sa? ANTIOPE Pur ora intesi esser tra i greci schiavi uno che al volto e alle belle armi molto sembra tra lor distinto. IPPOLITA (Fra sè) Ah fosse almeno l idolo del mio cor. ANTIOPE E il destinai a placar il furor che ascondo in seno. IPPOLITA Si, ricomprar con esso vuoi la figlia diletta. ANTIOPE Anzi giurai svenarlo, vittima a Cinzia e alla mia vendetta. IPPOLITA Pensa al periglio a cui la figlia esponi. ANTIOPE A greci ignoto è per anche il mio voto. Men vò; tra i prigionieri poi sceglierò chi più convien che fia vittima al mio furore. IPPOLITA (Fra sè) Non fate, o numi, che scelga mai chi adora l alma mia. ANTIOPE Bel piacer ch è la vendetta quando alletta un nobil core, se l offesa con offesa giunger puote a vendicar. Di giust ira un alma accesa il suo vindice furore con ragione solo aspetta l empio sangue dissetar. IPPOLITA Palpita per timore il core amante che riveder vorria l amato bene, ma nol vorria veder fra le catene. Da due venti un mal turbato sembra il misero mio seno il veleno del timore, e la speme dell amor. Ma sospirando vado cercando quel che più teme il cor che geme di due tiranni sotto gl affanni speme e timor. Scena Seconda (Tempio Di Diana. Piazza avanti il regio palazzo. Antiope, Ippolita, Teseo ed altri schiavi e guardie) ANTIOPE Olà doppie ritorte stringano il prigioniero. IPPOLITA Olà togliete a quel piede gentile ogni laccio servil. ANTIOPE Traggasi a morte. IPPOLITA Rendasi in libertà. ANTIOPE Con quale orgoglio Ippolita s oppone al cenno mio? IPPOLITA Con quello di regina. ANTIOPE Io sol dal soglio le leggi detto. IPPOLITA E qui commando anch io. TESEO (Fra sè) O destino! In due cori gareggiano per me gl odi e gl amori. IPPOLITA Cieca, tu non rifletti di Martesia al periglio? ANTIOPE Di natura il consiglio luogo non ha ne voti fatti al cielo. IPPOLITA A sì barbaro zelo io m opporrò. ANTIOPE Vedrem chi avrà più forza. IPPOLITA Ugual teco mi diero la sorte e il natal possanza e impero. ANTIOPE Pur che appaghi un giusto sdegno la vendetta ancor mi piace, che tormenta e dà dolor. E alla mia fortuna ria offro lieta e vita e regno per dar pace al mio furor. (parte) IPPOLITA Prence, tu prigioniero? TESEO Bella, mi vedi trofeo d Amor più che di Marte; io diedi il piede volontario alle ritorte sol per dar vita al core, ch era, lungi da te, vicino a morte. IPPOLITA E quali arti infelici, prence, son mai le tue? Per conservare un cor perderne due? TESEO Perché? IPPOLITA Dunque non sai che Antiope irata giurò svenarti, vittima al suo sdegno? TESEO Sarà men disperata almen la morte mia quand io sia degno di spirar, bella mia, sugl occhi tuoi. IPPOLITA Ingrato e creder puoi, ch io possa mai soffrire di vederti morire e non morire? TESEO No, vivi, e in te conserva di me la miglior parte; un tuo sospiro, una lacrima sola ch esca dal petto tuo, da tuoi bei lumi, tutto l orrore alla mia morte invola. IPPOLITA No, no vanne, Teseo, e a miglior sorte serba la vita tua, e in un la mia; ritorna in libertà. TESEO Che tirannia! È l istesso che dir "vanne a morire." IPPOLITA Crudel dunque ricusi dalla mia man di libertade il dono? TESEO Ah, questo è un don che dà morte al cor mio, s accettar nol poss io, chieggio, o cara, perdono. IPPOLITA Che risolvi? TESEO Disponga, Amor, di me come gl’aggrada e piace; so che lungi da te l amante core né viver sa, né sa trovar mai pace ma tu, perché non m ami? Vuoi, col falso pretesto di darmi libertà, che da te lungi porti le meste piante? IPPOLITA Non t amo? TESEO No; che mai l oggetto amato da sé non può bandire un core amante. IPPOLITA Sì, bel volto, che ti adoro, sì begl occhi, per voi moro, né giammai vi lascierò. Credi a me, mio ben, per te il mio core è tutto amore e morir ancor saprò. Scena Terza (Spiaggia Delle Amazzoni. Padiglioni del esercito greco in veduta della città. Martesia, Alceste e soldati, e poi Telamone e guardie) ALCESTE Bella, di Sparta il trono è spregievol così che il tuo rifiuto meriti, allor ch io tel presento in dono? MARTESIA Ma per farmi reina tu vuoi che a te mi renda schiava e il core cambi col tuo? ALCESTE Tu non l intendi; Amore con invisibil mano fa questo cambio. Io degl affetti tuoi divengo unico oggetto, e tu de miei. MARTESIA Dunque allora non potrei amar altri, che te? ALCESTE Sì d Imeneo dispongono le leggi. MARTESIA E neppur lice amar la genitrice? ALCESTE La Madre amar si dee, ma questo affetto, non men che amor, si può chiamar rispetto quel che unisce al consorte è un altro forte laccio, che tien gl’animi avvinti insino a morte. MARTESIA Se così fosse, io l alma men ritrosa già sentirei di divenir tua sposa. ALCESTE Dunque mia tu sarai? MARTESIA Chi sa? Il mio core non vi ripugna. ALCESTE Io ti ringrazio, Amore, giacché sperar mi fai; bella non ingannar la mia speranza, ch io spero si, mà temo, né so ancora se pari alla beltade hai la costanza. Io sembro appunto quell augelletto ch al fin scampò da quella rete, che ritrovò ascosa trà le fronde. Ché, se ben sciolto, solo soletto volando va; pur timido non sa dove rivolga il piè, sì del passato rischio ei si confonde. (parte) TELAMONE (entrando) Ad onta della sorte, che tanto arride al mio rivale, io spero, Martesia, alfi n di stringerti consorte. MARTESIA E Telamone ancora mi vuol sua sposa? E come, o Ciel, poss io per render paghe ancor le brame tue, divider il mio cor e darlo a due? TELAMONE Chi altri mai lo pretende? MARTESIA Alceste, e se il mio core a lui dar voglio, mi fa regina in Sparta. TELAMONE Non ha pregio minor d Itaca il soglio tu meco regnerai lieta e felice. MARTESIA Ma se amare non lice allora altri che un solo, e come, o dei, due consorti in un tempo amar dovrei? TELAMONE Se a me t unisce amore esser non puoi d Alceste. MARTESIA E perché mai? TELAMONE Perché sono d Imeneo queste le leggi or tu di me o di lui, qual più ti piace, in tuo consorte eleggi. MARTESIA Qual più mi piace? TELAMONE Sì. MARTESIA Siete ambedue di grado e merto uguale, ma se non lice a me prenderne due, Alceste nel piacer mi a te prevale. Ei nel volto ha un non so che, che m alletta e mi piace più di te. Mi diletta se lo miro, ma sospiro, né so dir come o perché. Vivaldi,Antonio/Ercole su l Termodonte/II-2
https://w.atwiki.jp/foxeye/pages/24.html
xdviで日本語が表示されない dvipdfmxでpdfが作成できない1状況 対処法 dvipdfmxでpdfが作成できない2状況 対処法 参考URL Ubuntu 9.04で日本語tex環境を整えるまでの記録 xdviで日本語が表示されない $ sudo apt-get install xdvik-ja で日本語化版をインストールすればよい。 dvipdfmxでpdfが作成できない1 状況 以下のようなエラーが発生し，pdfを作成できない。 [hoge@fuga]$ dvipdfmx report.dvi report.dvi - report.pdf [1kpathsea Running mktexpk --mfmode / --bdpi 600 --mag 1+0/600 --dpi 600 utmr8a mktexpk don t know how to create bitmap font for utmr8a. kpathsea Appending font creation commands to missfont.log. ** WARNING ** Could not locate a virtual/physical font for TFM "ptmr8r". ** WARNING ** This font is mapped to a physical font "utmr8a". ** WARNING ** Please check if kpathsea library can find this font utmr8a ** ERROR ** Cannot proceed without .vf or "physical" font for PDF output... 対処法 tetex-extraをインストールする。 sudo apt-get install tetex-extra dvipdfmxでpdfが作成できない2 状況 dvipdfmxでpdfが作成できない1と似た，以下のようなエラーが発生する。 [hoge@fuga]$ dvipdfmx hoge.dvi dvipdfmx hoge.dvi hoge.dvi - hoge.pdf [1kpathsea Running mktexpk --mfmode / --bdpi 600 --mag 1+359/600 --dpi 959 rml-jis mktexpk don t know how to create bitmap font for rml-jis. kpathsea Appending font creation commands to missfont.log. ** WARNING ** Could not locate a virtual/physical font for TFM "rml-jis". ** WARNING ** There are no valid font mapping entry for this font. ** WARNING ** Font file name "rml-jis" was assumed but failed to locate that font. ** ERROR ** Cannot proceed without .vf or "physical" font for PDF output... 対処法 /etc/texmf/dvipdfm/dvipdfmx.cfg に f jis-cjk.map と追記する。 参考URL http //myn.meganecco.org/2006110801 http //oku.edu.mie-u.ac.jp/~okumura/texwiki/?Linux%2FDebian Ubuntu 9.04で日本語tex環境を整えるまでの記録 日本語でtexを使えるようにする $ sudo apt-get install ptex-bin 日本語のdviファイルを表示できるようにする $ sudo apt-get install xdvik-ja dvipdfmxでpdfを作成するとき ** ERROR ** Could not find encoding file "H". 上記のようなエラーが発生する $ sudo apt-get install cmap-adobe-cns1 cmap-adobe-gb1 cmap-adobe-japan1 cmap-adobe-japan2 dvipdfmxでerrorは出ないが ** WARNING ** Could not open config file "fontmapsx". とwarningが出る $ sudo apt-get install latex-cjk-japanese 名前 コメント
https://w.atwiki.jp/touhoukashi/pages/6044.html
【登録タグ J nayuta 凋叶棕 年中夢中の好奇心 曲 記】 【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/ro-vita/pages/278.html
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https://w.atwiki.jp/andro_degu/pages/19.html
TextView各種設定に関して 幅の設定 高さの設定 文字色の設定 幅の設定 リファレンス(XML) リファレンス(Method) 方法 書式 説明 XML android width 単位は以下の通り・mm（ミリ）・px(ピクセル)・dp(density-independent pixels)・sp(scaled pixels based on preferred font size)・in(inches)記述する場合は単位をつけて記述します。（例）android height="30px" Method setWidth( int ) メソッドで記述する場合は単位はピクセルのみの指定になります。 高さの設定 リファレンス(XML) リファレンス(Method) 方法 書式 説明 XML android height 単位は以下の通り・mm（ミリ）・px(ピクセル)・dp(density-independent pixels)・sp(scaled pixels based on preferred font size)・in(inches)記述する場合は単位をつけて記述します。（例）android height="30px" Method setMaxHeight( int ) メソッドで記述する場合は単位はピクセルのみの指定になります。 ※幅と高さに関する注意点 ViewGroup.LayoutParamsのlayout_widthとlayout_heightを指定してサイズを指定している場合はFILL_PARENT指定が優先されるので気をつけること。 文字色の設定 リファレンス(XML) リファレンス(Method) リファレンス(ColorStateList) 方法 書式 説明 XML android textColor 色コードで指定する場合："#rgb", "#argb", "#rrggbb", or "#aarrggbb"リソースの参照は"@[+][package ]type name" 形式で可能。 Method setTextColor( ColorStateList ) 指定の方法はXMLと同様に指定可能。ColorStateListクラスに関してはまだ未確認。
https://w.atwiki.jp/inter_anarchist/pages/15.html
Jacobin (雑誌) WikipediaよりDeepL機械翻訳 Jacobin_(magazine) (29 March 2024 版) Jacobin is an American socialist magazine based in New York. As of 2023, the magazine reported a paid print circulation of 75,000 and over 3 million monthly visitors.[1] ジャコバンはニューヨークを拠点とするアメリカの社会主義雑誌。2023年現在、同誌の有料印刷部数は75,000部、月間訪問者数は300万人を超える[1]。 History and overview 歴史と概要 The publication began as an online magazine released in September 2010,[2] expanding into a print journal later that year.[3] Jacobin founder Bhaskar Sunkara describes Jacobin as a radical publication being "largely the product of a younger generation not quite as tied to the Cold War paradigms that sustained the old leftist intellectual milieux like Dissent or New Politics, but still eager to confront, rather than table, the questions that arose from the experience of the left in the 20th century".[4] 2010年9月にオンライン雑誌として創刊され[2]、同年末に印刷雑誌に拡大された[3]。ジャコバン創刊者のバスカル・スンカラは、ジャコバンを急進的な出版物であり、「ディセントやニュー・ポリティクスのような旧来の左派の知的集団を支えた冷戦のパラダイムに縛られていない若い世代の産物であるが、20世紀の左派の経験から生じた問いに、机上ではなく、立ち向かうことを熱望している」と述べている[4]。 In 2014, Sunkara said that the aim of the magazine was to create a publication which combined resolutely socialist politics with the accessibility of titles such as The Nation and The New Republic.[5] He has also contrasted it to publications associated with small leftist groups, such as the International Socialist Organization's Socialist Worker and International Socialist Review which were oriented towards party members and other revolutionary socialists, seeking a broader audience than those works while still anchoring the magazine in a Marxist perspective.[6] 2014年、スンカラは、この雑誌の目的は、断固とした社会主義政治と『ネーション』や『ニュー・リパブリック』のようなタイトルのアクセシビリティを組み合わせた出版物を作ることであったと述べている[5]。彼はまた、党員や他の革命的社会主義者向けであった国際社会主義機構の『ソーシャル・ワーカー』や『インターナショナル・ソーシャル・レビュー』のような小規模な左派グループに関連する出版物と対比させ、雑誌をマルクス主義の視点に軸足を置きつつも、それらの作品よりも幅広い読者を求めている。 [6] In an interview he gave in 2018, Sunkara said that he intended for Jacobin to perform a similar role on the contemporary left to that undertaken by National Review on the post-war right, i.e. "to cohere people around a set of ideas, and to interact with the mainstream of liberalism with that set of ideas".[7] In 2016, the Columbia Journalism Review called it "most successful American ideological magazine to launch in the past decade".[8] 2018年に彼が行ったインタビューの中で、スンカラはジャコバンが現代の左派において、戦後右派のナショナル・レビューが行ったのと同様の役割、すなわち「一連の思想の周りに人々をまとめ、その一連の思想でリベラリズムの主流派と交流する」ことを意図していると述べた[7]。 2016年、コロンビア・ジャーナリズム・レビューは、ジャコバンを「過去10年間に創刊されたアメリカの思想雑誌の中で最も成功した雑誌」と呼んだ[8]。 Jacobin's popularity grew with the increasing attention on leftist ideas stimulated by Bernie Sanders' 2016 presidential campaign, with subscriptions tripling from 10,000 in the summer of 2015 to 32,000 as of the first issue of 2017, with 16,000 of the new subscribers being added in the two months after Donald Trump's election.[7] In late 2016, Jacobin's editorial team unionized, including a total of seven full- and part-time members. An associate editor and co-chair of the union explained that Jacobin had only recently had enough full-time members to warrant unionization.[9][10] In spring 2017, Jacobin launched a peer-reviewed journal, Catalyst A Journal of Theory and Strategy, which is today edited by New York University professor Vivek Chibber and a small editorial board. As of 2022, Catalyst claims a subscriber base of 7,500.[11] In November 2018, the magazine's first foreign-language edition, Jacobin Italia, was launched. Sunkara described it as "a classic franchise model", with the parent publication providing publishing and editorial advice and taking a small slice of revenue, but otherwise granting the Italian magazine autonomy.[7] A Brazilian edition appeared in 2019,[12] and a German version started publishing in 2020; the latter grew out of Ada, an independent online magazine established in 2018 which primarily published translations of Jacobin articles.[13][14] The first issue of the German edition featured interviews with Kevin Kühnert and Grace Blakeley.[13] A Spanish-language version of Jacobin, Jacobin América Latina, was also launched in 2020.[15] In April 2020, Jacobin launched its YouTube channel featuring the Weekends program with Michael Brooks and Ana Kasparian.[16][17][18][19] In May 2020, sometime after Bernie Sanders suspended his 2020 presidential campaign, Sanders' former adviser and speechwriter David Sirota joined Jacobin as editor-at-large.[20] In 2020, Jacobin became an affiliated member of the Progressive International.[21] Title and logo The name of the magazine derives from the 1938 book The Black Jacobins Toussaint L'Ouverture and the San Domingo Revolution by C. L. R. James in which James ascribes the Haitian revolutionists a greater purity in regards to their attachment to the ideals of the French Revolution than the French Jacobins.[6] The conservative religious journal First Things criticized Jacobin's claim to represent Toussaint Louverture, pointing to Louverture's devout Catholicism, opposition to the massacres of former slave owners, and his actions to the former slaves of the colonies.[22] According to creative director Remeike Forbes, the magazine's frequently used "Black Jacobin" logo was inspired by a scene in the movie Burn! referring to Nicaraguan national hero José Dolores Estrada.[23] Contributors Sunkara has said he feels that "all of our writers fit within a broad socialist tradition", noting that the magazine does sometimes publish articles by liberals and social democrats, but that such pieces are written from a perspective that is consistent with the magazine's editorial vision, saying that "we might publish a piece by a liberal advocating single-payer healthcare, because they’re calling for the decommodification of a sector; and since we believe in the decommodification of the whole economy, it fits in". In terms of the sociological background of contributors, Sunkara acknowledged that they were mostly under the age of 35 and stated that "there are a lot of grad students, young adjunct professors or tenured professors. We also have quite a few organizers and union researchers involved [...] and people working in NGOs or around housing rights, that kind of thing".[5] Notable Jacobin contributors have included Kristen Ghodsee Slavoj Žižek Yanis Varoufakis Hilary Wainwright Kareem Abdul-Jabbar Jeremy Corbyn Pablo Iglesias Turrión Jon Trickett Ideology and reception Jacobin has been variously described as democratic socialist, socialist and Marxist.[24][25] Writing for the New Statesman in November 2013, Max Strasser suggested that Jacobin claims to "take the mantle of Marxist thought of Ralph Miliband and a similar vein of democratic socialism".[26] According to an article published in September 2014 by the Nieman Journalism Lab, Jacobin is a journal of "democratic socialist thought".[27] In January 2013, The New York Times ran a profile of Bhaskar Sunkara, commenting on the publication's unexpected success and engagement with mainstream liberalism.[28] In an October 2013 article for Tablet, Michelle Goldberg discussed Jacobin as part of a revival of interest in Marxism among young intellectuals.[29] In February 2016, Jake Blumgart, who contributed to the magazine in its early years, stated that it "found an audience by mixing data-driven analysis and Marxist commentary with an irreverent and accessible style".[24] In a 2014 interview published in New Left Review, Sunkara named a number of ideological influences on the magazine, including Michael Harrington, whom he described as "very underrated as a popularizer of Marxist thought"; Ralph Miliband and others such as Leo Panitch who were influenced by Trotskyism without fully embracing it; theorists working in the Eurocommunist tradition; and "Second International radicals" including Vladimir Lenin and Karl Kautsky.[5] In April 2016, Noam Chomsky called the magazine "a bright light in dark times".[30] In a March 2018 article published in the Weekly Worker, Jim Creegan highlighted the association of a number of the magazine's editors and writers with the Democratic Socialists of America (DSA), describing Jacobin as "the closest thing to a flagship publication of the DSA left" while also stressing the political diversity of contributors, incorporating "everyone from social democratic liberals to avowed revolutionaries". He also noted several features of the publication's editorial stance, namely its rejection of anti-communism; its skepticism regarding the possibility of the Democratic Party being transformed into a social-democratic movement through internal pressure, advocating instead the formation of a mass-based independent labor party; criticism of the parties of the Socialist International, which they argue have been responsible for imposing neoliberal austerity policies; and a conviction that the Nordic model of social democracy is ultimately not viable and that the only alternative to capitalism would be for militant labor and socialist movements to struggle to replace capitalism with socialism.[31]