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autolink M-65パンツはナイロン・コットン素材とナイロン・レーヨン素材の2種類確認した。 素材によって縮む縮まないなど気を付けるべき点があるかとラベルを確認した。 素材は違っても表示は共通であった。 ナイロン・コットンだろうがナイロン・レーヨンだろうが、この指示に従って、 気を使うことなくいずれもガンガン洗濯機にかけて乾燥機にかけることが分かった。 確かに戦場で洗濯に気を使うことはできるはずもなくヘビーデューティーに作られているのだろう。 ナイロン・コットンの表示 ナイロン・レーヨンの表示 DSA 100-72-C-1636 WINFIELD MFG. CO., INC. DSA100-74-C-1106 WINFIELD MFG. CO., INC. 50% NYLON 50% COTTON 50% NYLON 50% RAYON TROUSERS, COLD WEATHER, COTTON AND NYLON, WIND TROUSERS, COLD WEATHER, NAYLON AND RAYLON, WIND RESISTANT SATEEN OLIVE GREEN, ARMY SHADE 107 RESISTANT SATEEN OLIVE GREEN, ARMY SHADE 107 1.Wear as outer garment in cold-wet climate or as the innar layer 1.Wear as outer garment in cold-wet climate or as the innar layer of the cold-dry uniform. of the cold-dry uniform. 2.Button in linar for extra warmth . Remove it when damp or wet 2.Button in linar for extra warmth . Remove it when damp or wet and allow to dry. and allow to dry. 3.Attach suspender hooks to waist loops. 3.Attach suspender hooks to waist loops. 4.Adjust waist by buckle straps. 4.Adjust waist by buckle straps. 5.Ventirate by loosening drawcords. 5.Ventirate by loosening drawcords. 6.Wear leg bottoms outside foot gear and secure drawcords. 6.Wear leg bottoms outside foot gear and secure drawcords. 7.Brush off snow and frost before entering heated shelter. 7.Brush off snow and frost before entering heated shelter. 8.Avoid contact with heated stoves, open fires or other high heat 8.Avoid contact with heated stoves, open fires or other high heat source; faburic may fuse. source; faburic may fuse. 9.Dry trousers and liner separataly. 9.Dry trousers and liner separataly. 10.Lubricate slide fasteners with lead pencil graphite or wax. 10.Lubricate slide fasteners with lead pencil graphite or wax. 11.Wash by hand or machine, with slide fastener closed, in hot 11.Wash by hand or machine, with slide fastener closed, in hot with mild soap or detergent, Rinse thoroughly and drip or machine dry with mild soap or detergent, Rinse thoroughly and drip or machine dry DO NOT REMOVE THIS LABEL DO NOT REMOVE THIS LABEL (大体翻訳) 1.寒く湿った気候の下ではアウターとして、寒く乾燥した気候の下は制服のインナーとして着用すること。 2.最大限の保温を得るためライナーをボタン留めすること。湿り気を帯びたり、濡れた時にはライナーを外して乾燥させること。 3.サスペンダーフックをウエストループに付けること。 4.バックルストラップでウエストを調整すること。 5.ドローコードを緩めて換気をすること。 6.ズボンのすそはブーツの外に出し、ドローコードを確保すること。 7.暖房のきいたシェルターに入る際は雪や霜を払い落とすこと。 8.熱いストーブや裸の火や他の高熱の熱源との接触を避けること。生地が溶けるかもしれない。 9.ズボンとライナーは別々に乾燥させること。 10.ファスナーの開閉を滑らかに保つため鉛筆の黒鉛またはワックスを塗ること。 11.洗濯は手洗いまたは洗濯機ですること。洗濯の際は、ジッパーを閉じ、ぬるま湯でマイルドソープか合成洗剤を使うこと。よくすすいで手で絞るか乾燥機で乾かすこと。 このラベルをはがすことを禁ず。
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Implementing QuantLib日本語訳 付録A これは、Luigi Ballabio氏が書かれているImplementing QuantLibの翻訳です。氏の許可を得て、翻訳・公開しています。 日本語訳の情報は、こちらを参照してください(日本語訳に関する質問等もここのフォームにお願いします)。 The content of this page is licensed under Creative Commons. A. 半端物 A.7.1 スマートポインタとハンドル A. 半端物 靴に、船に、封蝋に、キャベツに、王様に A.7.1 スマートポインタとハンドル 実行時ポリモーフィズムの使用は、大部分ではないが多くのオブジェクトがヒープに割り当てられることを要求します。 これはメモリ管理の問題を起こします。他の言語では組み込みのガベージコレクションによって問題が解決されますが、C++では開発者の責任へと問題が残ります。 私はメモリ管理の多くの問題を長々と語りません。既にすべてがうまくいっている時はそれらは単に困難なものですと言えば十分ですが、例外の可能性が絵に入る時はさらに悪くなるでしょう。 その課題の困難さは、手動の管理を思いとどまらせるのに十分です。しがたって、いくつかの方法は処理を自動化するということに気づかされます。 C++開発者コミュニティでの選択の武器は、スマートポインタであるということに帰着されました。それは組み込みのポインタのようにふるまいますが、まだ必要な間ポイントされたオブジェクトの生存を、そしてもはや必要でない時にデストラクションを気にかけるクラスです。 異なる技術を使ったそのようなクラスのいくつかの実装が存在します。 私たちの選択の一つは、最近TR1技術報告へ含まれ、ANSI/ISO C++標準の次の改正の一部になりそうなBoostライブラリからのスマートポインタ(とくにshared_ptr)です。 私はドキュメントのために読者をBoostサイトへ差し向け、ここではQuantLibでのその使用は完全にメモリ管理を自動化したとだけ述べておきます。 オブジェクトはいたるところで動的に割り当てられます。しかしながら、ライブラリが構成する数万行すべてで一つのdelete文も存在しません。 ポインタへのポインタ(短時間の補習が必要なら、その目的と意味のために次のページの余談を見てください)もまた、スマートな等価物で置き換えられます。 私たちは単にスマートポインタへのスマートポインタを使うことを選びませんでした。一方では、 boost shered_ptr boost shared_ptr YieldTermStructure と書くことは、Emacsを使ってもすぐに間にうんざりしますし、また一方では、内部のshared_ptrは動的に割り当てられなけれいけないためです。さらに可観測性を実装することが困難になるためです。 かわりに、この目的のためにHandleと呼ばれるクラステンプレートが用意されました。 リストA.8で示されるその実装は、スマートポインタを保持するLinkと呼ばれる中間内部クラスを当てにします。 一方、HandleクラスはLinkインスタンスへのスマートポインタを保持し、それをより簡単に使うことを可能にするメソッドで飾り付けされます。 要求される振る舞いはほとんど無料で手に入ります。なぜなら与えられたハンドルのすべてのコピーは同様のリンクを共有するため、コピーのいずれか一つが新しいオブジェクトへリンクするとき、新しいポインティへのアクセスが全てで与えられます。 リストA.8:Handleクラステンプレートの概要 template class Type class Handle { protected class Link public Observable , public Observer { public explicit Link( const shared_ptr Type h = shared_ptr Type () ); void linkTo( const shared_ptr Type ); bool empty() const; void update() { notifyObservers(); } private shared_ptr Type h_; }; boost shared_ptr Link Type link_; public explicit Handle( const shared_ptr Type h = shared_ptr Type () ); const shared_ptr Type operator− () const; const shared_ptr Type operator *() const; bool empty() const ; operator boost shared_ptr Observable () const; }; template class Type class RelinkableHandle public Handle Type { public explicit RelinkableHandle( const shared_ptr Type h = shared_ptr Type () ); void linkTo( const boost shared_ptr Type ) ; }; また含まれたsharet_ptr Link は、他のクラスによって観測されるための手段をハンドルへ与えます。 Linkクラスは観察者であり観察対象です。そのポインティからの通知を受け取り、自身の観察者へその通知を転送します。それと同様に異なるポインティを指し示されるたびに自身の通知を送信します。 単に含まれたリンクを返すshared_ptr Observable への自動的変換を定義することで、ハンドルはこの振る舞いの利点を得ます。 したがって、文 registerWith(h) は、正当で期待したとおりに動作します。登録された観察者は、リンクと(間接的に)指し示されたオブジェクトの両方から通知を受け取ります。 ハンドルを再リンクする方法(つまり、すべてのそのコピーが異なるオブジェクトを指し示すようにすること)が、Handleクラス自体では与えられないことに気づいたかもしれません。しかし派生されたRelinkableHandleクラスで与えられます。 このための原理は、ハンドルが再リンクのために使われる制御を与えることです。 典型的な利用ケースでは、Handleインスタンスはインスタンス化(つまり、イールドカーブを保持するため)され、多くの商品、プライシングエンジンやハンドルのコピーを保持し必要な時に使われる他のオブジェクトへ渡されるでしょう。 論点は、オブジェクト(または、もしオブジェクトが観察者を通じ露出するなら、ハンドルを保持したクライアントコード)は保持したハンドルをいかなる理由があろうと再リンクさせないということです。それをさせてしまうことは、多くの他のオブジェクトへ影響を与えます。 あなたが望むなら、リンクはオリジナルのハンドル、つまりマスターハンドルからのみ変更されるべきです。 人間の弱さを考えると、私たちはこれをコンパイラにより強制させたかったです。 linkToメソッドをconstなものにし、私たちの観察者からconstなハンドルを返すことは上手くいかないでしょう。クライアントコードは非constなハンドルを得るコピーを単純に行えました。 したがって、私たちはHandleインターフェイスからlinkToを削除し、それを派生クラスへ追加しました。 型システムは上手く私たちの利点に働きます。 一方、私たちはRelinkableHandleとしてマスターハンドルをインスタンス化し、Handleを予期しているいかなるオブジェクトへそれを渡すことができます。薄切りになったしかし完全に動作するハンドルのオブジェクトを残しながらも、派生から基底クラスへの自動的変換が起こります。 他方、Handleインスタンスが観察者から戻された時、それをRelinkableHandleへダウンキャストする方法がありません。 余談:ポインタの意味 以下のコードのように、クラスインスタンスでポインタのコピーを保持することは、その所有者がポインティの現在の値にアクセスすることを許可します。 class Foo { int* p; public Foo( int* p ) p( p ) {} int value() { return *p; } }; int i = 42; int *p = i; Foo f( p ); cout f.value(); // 42をプリントする i++; cout f.value(); // 43をプリントする しかしながら、外部のポインタが変更された際、保持されたポインタ(オリジナルのコピー)は変更されません。 int i = 42, j = 0; int *p = i; Foo f( p ); cout f.value(); // 42をプリントする p = j; cout f.value(); // まだ42をプリントする 通常、解決法は間接のもう一つの階層を追加することです。Fooをポインタへのポインタを保持するように変更することは、クラスに両方の可能性を与えます。 int i = 42, j = 0; int *p = i; int **pp = p; Foo f( pp ); cout f.value(); // 42をプリントする i++; cout f.value(); // 43をプリントする p = j; cout f.value (); // 0をプリントする (以下翻訳中)
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Fantastic Cup 2019 Rd.05 オーストラリアGP 結果 Rd.05 AUS 50% マシン pt 予選 順位 ポイント 合計 BLACKFOX-SV Mercedes 1 10th 15 0 1 akira_sousui Mercedes 1 19 13 0 1 WK_ZEPHRY Ferrari 1 15 18 0 1 INFINITY_AS72100 Ferrari 1 3rd 3rd 15 16 teru-R33 Red Bull 1 7th 7th 6 7 CC_Johnson_ Red Bull 1 PP 5th 10 11 kyuandmimi-love Hass 3 18 12 0 3 bun594416 Hass 3 16 11 0 3 Tapioka_DK McLaren 3 12 8th 4 7 IcedTea_777 McLaren 3 8th 19(DNF) 0 3 Y121S526 Racing Point 3 9th 17 0 3 TAMOTU-JJJ Renault 6 13 10th 1 7 ygdm520112 Renault 6 2nd 6th 8 14 HONDA_FAN99 Toro Rosso 6 6th 9th 2 8 makky-1969 Toro Rosso 6 17 14 0 6 R3hub-1996 Alfa Romeo 6 11 1st+FL 26 32 TSUBASTIAN Alfa Romeo 6 5th 4th 12 18 mirai1222 Williams 10 14 16 0 10 SBV_KleberTUPETI Williams 10 4th 2nd 18 28
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Sword of Justice 貴重な聖魔法ブースター。敵を炎で縛りつけることも可能 Sword of Justice 両手武器 研究Lv 属性 属性2 内部ID 90 8 3 3 威力 攻撃補正 攻撃回数 長さ 15 3 1 3 防御力 防御補正 回避率 重さ 4 射程 弾数 特殊 その他 攻撃時効果:Small Area Fire火炎耐性:50%、聖魔法ブースト:1使用可能:Prison of Fire ゲーム内解説文 This sword will increase the priestly authority of any priest who wields it. When used in combat, it will burst into flames and can be used to imprison enemies in fire. 和訳 この剣は、どんな聖職者がそれを用いるとしても、その聖職者としての権限を増加させます。戦闘において用いられると、それは炎を吹き上げ、敵を炎で捕らえるために使うことができます。 注記 世界にたった2つしか存在しない聖魔法ブースターの片割れ。もう1つは両手武器のSword of Injusticeで、名前の面でも対になっている。 ブースト目当てなら両手が塞がるこちらはあまり嬉しくなく、2属性複合のために作製の難易度も高い傾向にあるが、一方で便利な機能も多い。 まず、ブースターながらかなり強力な武器となっており、高めの威力に十分な技量補正、さらに攻撃時には範囲1への威力14、防御貫通の火炎攻撃も行われる。 範囲効果だけでも人間の歩兵を蹴散らすには十分な性能で、武器本体の威力も大物に通用し得る。ただ単に武器として見るならFire Brandでも事足りるとしても、ブースターのおまけでこの性能なら文句は言えない。 ついでに装備者にも火炎半減が備わる。他で50%稼げば無効まで持っていけるようになるので、ありがたい場合もあるだろう。 また装備者はPrison of Fireの任意発動が可能。敵に火炎耐性さえなければ最低でも1ターンは足止めでき、かつ抜けた際にはいくらかのダメージも与えられる。 聖魔法ブーストの一方で足止め手段も与えてくれるわけだが、聖魔法はやれることが限られ、場合によっては1ターン目で仕事が終わってしまうため、この機能は有益。Abysia相手でもなければよく機能してくれる。 コメント 名前 コメント
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【登録タグ J KosmosP 初音ミク 曲】 作詞:こーたん・風花・KosmosP 作曲:KosmosP 編曲:KosmosP 唄:初音ミク 曲紹介 切ないバラード曲。 KosmosP本人が作詞に携わった初めての曲。 歌詞 もしも僕が 思いを伝えられてたら 君との道は どうだった? 君に別れを告げた後で 後悔だけが心(ここ)に残った なぜ口にしたんだろう 溢れる思い押さえつけ 「側にいたい…」思っても 今じゃもう… "I miss you." 君と共に過ごしたあのひと時は 僕の一言で 煙のように 消えていった 君の気持ち わからずにいた 気づくことも出来なかった こんな僕をどう思っているんだろう・・・ (That left me just regret.) もしも僕が 素直になれたら 君との道は どうだった? 君が消えた今になって 楽しかったと思い出すよ どうか見捨てないで ずっと側にいて 心では思っても 口にできない "I love you." 君と過ごした時間 かけがえのない瞬間(とき)は 君の一言で 溶けるように 崩れていった 自分でもわかってるんだ 自分が我儘だってこと こんな僕をどう思っているんだろう・・・ (That left me just regret.) 本当は好きだった 君の我儘もすべて 自分の弱さゆえ 気持ちに蓋をしていたよ I was afraid of hurting you. You were my treasure. 君と共に歩み 共に過ごした瞬間(とき)は どれだけの日々過ぎ去ろうと 色あせないよ もしもこれが夢ならば すぐに僕の目を覚まして もしも時を戻せたら… 君と共に過ごしたあのひと時は… もう一度 この手で取り戻したい 偶然が起こした ふたりの道を 修復する(なおす)ことはできないの? もう一度 僕に奇跡を (That left me just regret.) コメント ホンマいい曲です!!!(;_;) -- 中居ハゲ (2011-07-10 20 17 16) 名前 コメント
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発売日 2001年 開発元 Cryo Interactive Entertainment 発売元 Cryo Interactive Entertainment 販売サイト GOG.com https //www.gog.com/game/atlantis_3_the_new_world ↑US版。2話パックでお買い得。だが初代アトランティスが無いのがダメポ 330 名前:Beyond AtlantisII が終わったので感想[sage] 投稿日:2006/09/23(土) 16 42 27 ID JHfUjaAx Beyond AtlantisII (Atlantis3 the new world) 2001年10月発売 メタクリティック http //www.metacritic.com/games/platforms/pc/beyondatlantis2?q=atlantis 公式サイト 見つかりませんですた>< 製作会社(Cryo)閉鎖 http //www.cryo.com/ 発売会社(アドベンチャーカンパニー) http //www.adventurecompanygames.com/tac/beyond_atlantis2/index.html 注;最初、CryoがAtlantis III The New Worldという名称で発売、 後に、Dreamcatcher(アドベンチャーカンパニー)がBeyond AtlantisII という名称で発売 日本語版も出てるようでつね。でも高そう・・・ http //www.amazon.co.jp/gp/product/B0000677Z5%3ftag=placeofpeace-22%26link_code=sp1%26camp=2025%26dev-t=D1PF94OZ6VHO2P 331 名前:Beyond AtlantisII が終わったので感想[sage] 投稿日:2006/09/23(土) 16 47 38 ID JHfUjaAx ( ゚∀゚) こ れ は す ご い !! cryoの、アトランティス作品シリーズの3作目 ミストタイプの一人称視点で、色々謎を解いていきます 大まかなストーリーは、近未来を舞台に、女考古学者が古代遺跡を訪れ、 様々な次元を超える力を持つ水晶?の頭蓋骨の秘密を解き明かす話です 主な舞台は、古代エジプト、旧石器時代のシベリア、千夜一夜物語のアラビアなど 神話や物語をベースにしたステージです 奇妙に歪んだ水晶の迷宮や、どこまでも続く廊下、抽象的で唐突な会話と沈黙、 生命に満ちた古代壁画、死と再生、永遠の夢の中を旅しているような、 独特の雰囲気に満ちています。 パズルは、「何をするのかが目的が分からない」という点で難しいです マジで難しいのは、アラビア編の引き出しパズル (結局、攻略みて飛ばしました 今でも全く分かりません><) 必要アイテムが、たまにトンでもない隅っこにあったりするのが辛い 前作、Beyond Atlantisと比べると、外伝みたいなやや短い話で、パズルも簡単になっています でも、この意味不明で美しくて、ナンセンスで独特のシュールな雰囲気は、Beyond AtlantisⅡだけ! 不具合としては、XPなのに最初起動してくれなかった事。でも http //www.adventurecompanygames.com/tac/support/index.php ↑ココからパッチを手に入れたり、不具合直し方法として書いてある事試して、 マカフィー切ったりしたら、動きますた
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#hint_1 |'I shall fear the Dothraki the day they teach their horses to run on water.' Ned, to Robert Baratheon #hint_2 |'Never forget what you are, for surely the world will not. Make it your strength. Then it can never be your weakness. Armour yourself in it, and it will never be used to hurt you.' Tyrion Lannister #hint_3 |Benioff praises the show's composer Ramin Djawadi for coming up with a memorable version of 'The Rains of Castamere.' Early in the development process, they discussed the idea of making the show's theme song into 'The Rains of Castamere,' but Weiss argued against it, and Benioff agrees it was the right call. #hint_4 |'First, I have to finish The Winds of Winter and A Dream of Spring,' Martin says. 'That's going to take me a while. I have to write quickly, because these guys are catching up to me.' - George RR Martin when asked if he would make a prequel to the books. #hint_5 |Illyrio Mopatis is a wealthy and powerful Magister in the Free City of Pentos. He is a dealer in spices, gemstones, dragon bone, and other things. #hint_6 |Why aren't the characters at par with their in age in the novel? For if we showed a 14 year old Daenerys getting raped by Khal Drogo then you'd be interviewing us in custody. #hint_7 |The first book of the series Game of thrones came out in 1996. #hint_8 |Martin's admiration for wolves came from supporting the Wild Spirit Wolf Sanctuary in New Mexico. #hint_9 |The majority of the cast have not read any of the books. The actors on the series feel that reading the books and spoiling the storyline will interfere in how they portray their characters, and knowing their fate my cause issues with how they act. #hint_10 |The Iron Throne was made with dragon's fire and a thousand swords. #hint_11 |'Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north. Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods' - Old Nan #hint_12 |'The Dothraki were wise where horses were concerned, but could be utter fools about much else.' Daenerys Targaryen hint_1|You can adjust the modification settings from within the Camp menu. hint_2|Increase your commoners trust by helping villages and farmers. hint_3|Your religion will effect your recruiting abilities. hint_4|Your men need rest when travelling, otherwise their morale will suffer. hint_5|Find hidden locations around the world map for some extra experience points. hint_6|Don't forget to speak with everyone you meet, some may have special quests for you. hint_7|You may need to visit the Citadel in Old Town to learn how to read hint_8|Wights require special weapons to be killed. hint_9|Whitewalkers require special weapons to be killed. hint_10|Speak to an Armour or Weapon smith to power up some of your gear. hint_11|The Dornish have some of the fastest horses in the game. hint_12|Playing music in towns will give your men's morale a boost. hint_13|Owning various locations will give you access to special troops. hint_14|Some villages allow recruitment of special units. hint_15|Valyrian weapons can be bought from a weapon smith somewhere in Essos. hint_16|If being chased on the world map you can wait in the various taverns or temples of your religion that are scattered about the map. hint_17|Selling prisoners to the Nights Watch will boost their numbers. hint_18|If you don't want to sell your prisoners, you can put them to work in the mines. Just remember to have enough guards on duty. hint_19|You can leave men in the field by using the troop quarters feature. hint_20|Only the first tier of your settlement cannot be attacked. hint_21|Wights are fast, make sure you have a strong shield wall to protect your archers. hint_22|You can buy a small cheap boat to get you around in the early game. hint_23|Try and send cheap fodder in as the vanguard, then pick the rest of your troops up before the real siege begins. hint_24|Joining a Lords army is a good way to level up and earn some coin in the early game. hint_25|Ironborn get a bonus for travelling on the seas. hint_26|There are lots of hidden locations all over the map. Can you find them all. hint_27|Being the King or Queen of The Seven Kingdoms allows you to capture and send Lords to The Wall. hint_28|Assisting the Nights Watch will help in beating back the Whitewalkers. hint_29|Slave trading is forbidden in Westeros. hint_30|Maesters can be found in castle halls throughout Westeros. hint_31|Healers can be found in towns throughout Essos. hint_32|There are lots of special parties roaming the map that you can either conquer or recruit. hint_33|Take King's Landing and outfit your companions with Kingsguard armour for your own special guards. hint_34|Bannermen and religious units will increase the courage of your men on the battlefield. hint_35|Using spies can be difficult and costly but if successful can be devastating. hint_36|The higher your relations with the lord you are serving, the higher the chance of being granted leave from the army.
https://w.atwiki.jp/bemani_cd/pages/248.html
Disc 1 Disc 2 CD情報 CD名 リリース日 アーティスト REALIZE 2015.08.26 DJ Genki http //djgenki.net/gecd015/ Disc 1 Track No. 曲名 アーティスト 演奏時間 01 Shining World (Album Mix) DJ Genki feat. Yukacco 02 Realize DJ Genki feat. Yukacco 03 Future Maker lapix VS DJ Genki 04 Drop DJ Genki 05 HAPPYHAPPYHAPPY!!!!!! (RE EDIT MIX) DJ Genki 06 Toys (2015 Update Ver.) DJ Genki 07 Candy Star (Album Mix) DJ Genki feat. Yukacco 08 Fake it me 吉河順央 09 Kicky Land RoughSketch VS DJ Genki 10 Dreamer DJ Genki feat. Yukacco 11 Starlit Sky (2015 Update Ver.) DJ Genki feat. Yukacco 12 Just Say Goodbye DJ Shimamura VS DJ Genki feat. Yukacco 13 Shining World (A-Style-Happy-Core Remix!!) Remixed by かめりあ feat. ななひら Disc 2 DJ Mix
https://w.atwiki.jp/pcs_explanation/pages/16.html
IN/overview ISU components. Interpretation. Interpretation overview What is interpretation? Interpretation is the personal and creative translation of music by using movements with intricacy, difficulty and quality. Movement is the keyword. Variety of movement is required in all parts of the skater’s composition, in order to have depth in the interpretation of the music. All written criteria for interpretation are addressed in this DVD. But to simplify the process for the judge, we are focused on three main points of interests for interpretation. Musical movement, expressive/nuance movement, and effortless movement. IN/Music Movement http //youtu.be/Uio9PKFlEAY 2.1.2. ISU components. Interpretation. Musical movement Musical movement is movement that reflects the phrasing, the character, and the style of the musical selection. Music is played in phrases, much like different languages we speak, each piece of music, like a different language may have different rhythms and tempos, but all has a question and and an answer pattern, a question and answer phrase of music completes a whole musical sentence. Let’s listen to the musical selection from an ice dance team. This style of music is classical. (1 50) Let’s now observe what movements were performed to the music. Look to see if the movement phrasing corresponds with the musical phrasing. (3 07) The phrasing of the movement matched well with the phrasing of the music. In ice dance, the focus is on music and movement and the elements are such that they can be integrated into the interpretation smoothly. Now, a selection of music from a single skater. It is also classical. (4 20) Let’s look at what movements were performed. Pay particular attention to the movement phrasing to see if it corresponds with the musical phrasing. (5 24) Generally speaking, for singles and pairs, as the skaters prepare for their risky, technical elements, there is often a disconnect between the music and their movement. (5 46) Here is an example where the skater ignores the music, and becomes disconnected for an extended amount of time prior to the technical element. (6 13) While preparing for his second technical element, he again disconnects with the music. (6 25) In preparation for the quad toe-triple toe combination, this skater ignored the music for 12 seconds in order to set up the element, which is worth 13.8 points. Prior to the triple axel attempt, which is worth 8.2 points, he ignored the music for 11 seconds. There are many points to be gained by successfully completing the technical elements. But in numerous cases, it is at the cost of losing connection with the music and interpretation. In regards to the skater being connected to the music, let’s look at some performances. To help guide and for discussion point, we will indicate on the screen where the skater loses connection with the music and where they are connected. While we do this, consider that the technical element is part of the program, and it should work with the music, regardless of its success. (8 57) Even though there was a mistake, the disconnect with the music was very short. The movements were not always phrased perfectly, but he was both physically and emotionally connected with the music. (10 47) In the ISU judging system, the balance between technical points and component points is up to the skater. If the skater chooses to execute difficult jumps with high point values, but does not interpret the music for an extended length of time prior to the technical element, the price they pay should be reflected in the interpretation score. Looking at the time of the connection with the music between these two skaters, the skater on the left was connected for 33 seconds, and the skater on the right for a minute and 25 seconds. The disconnect time was 1 04 for the skater on the left, and just 9 seconds for the skater on the right. This is a pair skating example, where almost all the short program movements are connected to the music. (14 34) With the exception of two very short disconnects, all the entrances and exits of technical elements are performed with a full attention paid to the musical phrasing, character and style. This pair is not at the level of the previous and are disconnected for a significantly more time than the first team. (17 52) Just for interest, looking at the amount of time connected to the music, the team on the left was connected for only 56 seconds, and the team on the right was for 2 minutes and 39 seconds. The disconnect time of the team on the left was 1 minute and 56 seconds, and the team on the right just 12 seconds. There is a significant difference in the overall quality of the teams. And the difference in the amount of the time connected to the music is also reflected. IN/Expressive nuance movement http //youtu.be/oLk0a-BDY5g Expressve/nuance movement relates to the detailed finesse of the skater or the team. It is their ability to respond with personal nuances and express variations and intensity, tempo, and the dynamics of the music made by the composer and/or the musician. So, what exactly is a musical nuance? A musical nuance is anything that gives life to the music, like an increase in tempo, or elongation of a note, or the addition of instruments to strengthen a phrase, and intensity and etc. Listen to this piece of music. And although it is simply a repetition of the same musical phrase, it changes from phrase to phrase by tempo, intensity and the use of different instruments. We have revealed an audio wave graph so you can see the musical highlights at the same time you hear them. (1 27) Let’s now look at what was performed during this music, and see if you can pick one movement nuance that had nothing to do with the element, and was only there to recognize the music. (2 18) In this next example, we look more closely at the highlights of the music connected with the nuance movement using slow motion. (2 46) Notice the audio wave bar at its highest point at the same time as the skater raises her head, then quickly turns it to the left, then right to catch the downbeats following the highlight. (3 32) Nuance movements recognizing highlights or at times such small details that can be hard to see in the overall picture, but in the end, it is the small details that make a good performance into a great performance. Watching one last time without any graphics or use of slow motion, it is easier to see the detail of the movement and hear the detail of the music. (4 37) It is important to understand that the interpretation of the same music with the same choreography can greatly differ from an event to an event. If the skater is not feeling well or the technical elements are not successful, or if they are struggled, this can change the phrasing of the movement with the music. It can change the intensity of the overall interpretation of the program. Let’s look at the same skater who has good skills and a good program. On the right side of the screen you will see her best performance of the year, and on the left side the same program and music, but not skated as well. How does this affect the expression and nuance movements? (7 29) With the smallest mistakes on the left, the skater is now behind her music, and is faced with a decision whether to rush, take a shortcut or leave something out in order to catch up. The energy and thought process to make such a decision in such an important moment, takes her away from the magical connection with the music, she seems to have on the right side of the screen. (9 32) At the end of the program, it becomes clear she was unable to catch up with the music, which left her struggling both technically and with her interpretation. It should be noted that this skater was a wonderful and capable skater of the highest level, but on that day, the interpretation was affected. (9 51) Here is another example of a very good skater. Performing the same program, at two very different standards. On the left of the screen, is a very good performance from January 2008, and on the right, a more difficult and challenging performance from March of the same year. Notice that once the program begins to have difficulty, the attention to expression and nuances and interpretation begins to rapidly decline. (15 02) This example, again, demonstrates that when a skater has technical difficulty, much of the expression and nuance movement is left out, while trying to catch up to the music and returned to successfully completed the elements. IN/Effortless movement http //youtu.be/lLl44YmUhdg Effortless movement. Effortless movement is when the skater effortlessly changes the tempo, rhythm, or intensity of their skating in direct relationship with the same changes in the music. During this program, the skater keeps her speed and flow moving effortlessly from element to element, while at the same time responding to changes in tempo, and intensity of the music. (3 16) Our next example of effortless movement is from a skater who demonstrates a wonderful sense of rhythm with the music, responses to the nuances of the music with small movements. He is totally committed to the character and style of the music, and because of all this, makes the program to seem entirely effortless. It is a good example that all the aspects of the program come together, the athlete and audience are bonded through a seemingly effortless performance. IN/Conclusion http //youtu.be/Cex942xblXE The judges have many things to consider during the skater’s performance. Breaking down by item by item it seems almost impossible to assess each detail with such accuracy. So it is important that one must have an automatic understanding of the priorities in each component. In interpretation we have tried to make it simpler by concentrating on three main points, which would become your reference points prior to giving a score. Musical movement ask yourself, did the skater or the team’s movement reflect the style, character, and phrasing of the music? Did you, as the audience, or the judge, feel involved by the music and movement, or were you just watching the athletes skate, while the music happened to be played? Expressive nuance movement there is detail in every musical piece. Did the skater or the team’s movement express all details of the music, or was there no recognition of the music detail? Effortless movement Did the program appear effortless? Effortless programs often seem to go quickly, or without visible struggling and fatigue by the end. The judge will be based with certain aspects or percentages of these questions being answered “yes.” It is then up to the judge to *accurately* as possible apply the corresponding percentage overall to the scoring each component. Interpretation, it is the relationship of the skater’s movements connected with the style and character of the music. The recognition from the skater in responding with the movements and the nuances of the music. And perhaps the most difficult aspect, the ability to make all of the scenes effortless.
https://w.atwiki.jp/hikipuro/pages/62.html
The first released option pack is the "Rumble Pak" (NTR-A-ZV / model NTR-008), which comes bundled with Metroid Prime Pinball. This black cartridge is exactly the same size as a normal GBA game pak, but contains a small actuator made by ALPS to make it rumble. Grab a demo with source code to use the Rumble Pak here. This is a bad way to do it, as it's just a cleaned up version of a debug app. It'd be much better to set up a timer interrupt and adjust the frequency or enable/disable it. The rumble pak is pretty simple internally (this info comes from a NTR-A-ZV-USA cart, PCB screened NTR-NRC-01), and only wires up to a few pins on the GBA Cartridge Port * VCC * /WR * AD1 * IRQ (grounded) * GND AD1 runs into a little 8 pin chip, which is probably just a latch on the rising edge of /WR. A line runs from this chip to a transistor that is directly connected to the actuator. The only other chip on the board is a 5 pin jobber, probably a power component. Using the cartridge is simplicity itself, it just latches bit 1 of any value written to the cartridge and uses that to put the actuator in a particular position. Code snippet #define P __attribute__ (*1) typedef struct sGBAHeader { P uint32 entryPoint; P uint8 logo[156]; P char title[0xC]; P char gamecode[0x4]; P uint16 makercode; P uint8 is96h; P uint8 unitcode; P uint8 devicecode; P uint8 unused[7]; P uint8 version; P uint8 complement; P uint16 checksum; } tGBAHeader; #undef P #define GBA_HEADER (*(tGBAHeader *)0x08000000) #define GBA_BUS (*2) #define RUMBLE_PAK (*(vuint16 *)0x08000000) bool isRumbleInserted(void) { uint16 four[4]; sysSetCartOwner(true); // First, check for 0x96 to see if it #039;s a GBA game if (GBA_HEADER.is96h == 0x96) { return false; } else { // Now check to see if it #039;s true open bus, or if D1 is pulled low four[0] = GBA_BUS[0] amp; 0xFF; four[1] = GBA_BUS[1] amp; 0xFF; four[2] = GBA_BUS[2] amp; 0xFF; four[3] = GBA_BUS[3] amp; 0xFF; return (four[0] == 0x00) amp; amp; (four[2] == 0x00) amp; amp; (four[1] == 0x01) amp; amp; (four[3] == 0x01); } } void setRumble(bool position) { RUMBLE_PAK = position ? 2 0; } The actuator doesn't have an on/off setting like a motor, it rumbles when you switch it between the two settings. Switch frequently for a fast rumble, and fairly slowly for more of a 'tick' effect. I am currently detecting if it is a rumble pak or plain open bus by the fact that the rumble pak seems to pull AD1 low, or at least keep it from mirroring A1 during an open-bus read. Additional notes The firmware can detect the Rumble Pak as an option pak, but it does not provide an enable/disable rumble option in the alarm menu (on v3 firmware). They apparently changed the design between creation of the firmware and creation of the rumble pak. It would be interesting to see if this is different in v4 firmware, although I doubt it will be.