約 4,735,892 件
https://w.atwiki.jp/keroro00innovator/pages/2125.html
エデン エデン アーティスト 水樹奈々 発売日 2015年1月14日 レーベル キングレコード デイリー最高順位 1位(2015年1月19日) 週間最高順位 1位(2015年1月20日) 月間最高順位 1位(2015年1月) 年間最高順位 14位(2015年) 初動売上 43413 累計売上 60564 ゴールド 週間1位(V2) 月間1位 声優年間1位 声優上半期1位 収録内容 曲名 タイアップ 視聴 1 エデン 2 No Limit DOG DAYS" OP 3 終末のラブソング クロスアンジュ 天使と竜の輪舞 ED 4 Necessary クロスアンジュ 天使と竜の輪舞 挿入歌 ランキング 週 月日 順位 変動 週/月間枚数 累計枚数 1 1/20 1 新 43413 43413 2 1/27 1 → 6608 50021 3 2/3 5 ↓ 3323 53344 2015年1月 1 新 53344 53344 4 2/10 17 ↓ 1607 54951 5 2/17 19 ↓ 1238 56189 6 2/24 ↓ 894 57083 7 3/3 742 57825 2015年2月 37 ↓ 4481 57825 8 3/10 588 58413 9 3/17 512 58925 10 3/24 428 59353 11 3/31 342 59695 2015年3月 36 ↑ 1870 59695 12 4/7 302 59997 13 4/14 206 60203 14 4/28 361 60564 2015年4月 ↓ 869 60564 DOG DAYS OP 前作第2期 次作 FEARLESS HERO No Limit クロスアンジュ 天使と竜の輪舞 ED 前作 次作 凛麗喜多村英梨 終末のラブソング 関連CD 禁断のレジスタンス Angel Blossom SCARLET KNIGHT BRIGHT STREAM
https://w.atwiki.jp/sentoukokka4/
このwikiはPS2SLGソフト、戦闘国家-改- NEW OPERATIONSの非公式wikiです。 ※当wikiは非公式の攻略wikiです。情報の妥当性や正確性について保証するものではなく、一切の責任を負いかねます。 ※当wikiを利用することによって生じるいかなる損害も当サイトでは補償致しません。 ※ご利用につきましては自己責任となりますのでご注意ください。 ※文章の著作権は当wikiにあります。内容の複写、転載を禁じます。
https://w.atwiki.jp/matchmove/pages/58.html
Constraining Camera Position and Motion Sometimes you may already know some or all of the path of the camera, for example, · it may be available from a motion controlled camera, · the camera motion may be mechanically constrained by a camera dolly, · you may have measured some on-set camera data to determine overall scene sizing, or · you may have already solved the camera path, then hand-edited it for cleanup. SynthEyes lets you take advantage of this information to improve a solution or help set up the coordinate system, using the trajectory lock controls at the bottom of theSolver Control Panel, theHard and Soft Lock Controldialog, and the camera s seed path information. Warning using camera position, orientation, and field of view locks is avery advanced topic. You need to thoroughly understand SynthEyes and the coordinate system setup process, and have excellent mental visualization skills, before you are ready to consider camera locks. Under no circumstances should they be considered a way to compensate for inadequate basic tracking skills. Concept and Terminology SynthEyes allows you to create locks on path (X, Y, and/or Z translation), rotation (pan, tilt, and roll), and field of view. You can lock one or more channels, and locks are animated, so they might apply to an entire shot, a range of frames, or one frame. Each lock forces the camera to, or towards, the camera s seed path. The seed path is what you see before solving, or after clearing the solution. You can see the seed path at any time using theView/Show seed pathmenu control, or the button on the Hard and Soft Lock Control dialog. Locks may be hard or soft. Hard locks force the camera to the specified values exactly (except if Constrain is off), similar to pegged trackers. Soft locks force the camera towards the specified value, but with a strength determined by a weight value. Locks are affected by theConstraincheckbox on the solver panel, similar to what happens with trackers. With Constrain off, locks are appliedaftersolving, anddo notwarp the solution. All soft locks are treated as hard locks. With Constrain on, locks are applied before and during solving, soft locks are treated as such, and locksdowarp the solution. Field of view locks are not affected by Constrain, and are always applied. Camera position locks are more useful than orientation locks; we’ll consider position locks separately to start with. You can also constrain objects, but this is even more complex. Basic Operation Set up generally proceeds as follows 1. If you have not already attempted to solve the scene, go to step 5. 2. Go to the Solver Control Panel. Click themorebutton to bring up theHard and Soft Lock Controlpanel. 3. Position and animate the camera as desired, creating a key on each frame where you want the position to be constrained. The Get buttons can help with this. 4. Turn on the L/R, F/B, and/or U/D buttons as appropriate depending on the axes to be constrained — these stand for left/right, front/back, and up/down respectively. 5. Adjust the Constrain checkbox as needed. The camera position constraints behave similarly to constraints on the trackers if the Constrain checkbox on, they are enforced exactly during the solve, but if the Constrain checkbox is off, they are enforced only loosely after the completion of the solve. Loosely means that they are satisfied as best as can be, without modifying the trajectory or overall RMS error of the solution. The result of this process is to make the camera match the X, Y, and/or Z coordinates of the seed path at each key. This basic setup can be used to accomplish a variety of effects, as described above and covered in more detail below. At the end of the section, we’ll show some even more exotic possibilities. Using a Camera Height Measurement Suppose the camera is sitting on a moving dolly in a studio, and you measured the camera (lens s) height above the floor, and you have some trackers that are (exactly) on that floor. You can use the height measurement to set up the scene size as follows 1. Show the seed path View/Show Seed Path menu item 2. At frame 0, position the camera at the desired height above the ground plane 2 meters, 48 inches, whatever. 3. Turn on the U/D button on frame 0,turn it back off at frame 1. 4. Set up a main coordinate system using 3 or more trackers on the floor. Make sure tonotcreate a size constraint in the process if using the *3 button on the Coordinate system panel or the Coord button on the Summary panel, select the 2nd(on-axis) tracker, and in the Coordinate panel, change it from Lock Point (at 20,0,0) to On X Axis or On Y Axis. 5. Solve with Go! on the Solver panel Note that you can use whatever more complex setup you like in step 4, as long as it completely constrains both the translation and rotation, but not the size. WARNING You might be tempted to think “Hmmm, the camera is on a dolly, so the entire path must be exactly 43 inches off the floor, let me set that up!” (by not turning U/D back off). But this is almost alwaysa bad idea! The obvious problem is that the dolly track is never really completely flat and free of bumps. If the vertical field of view is 2 meters, and you are shooting 1080i/p HDTV, then roughly your track must beperfectly flat to 1 millimeteror so to have a sub-pixel impact. If your track is that flat, congratulations. The conceptually more subtle, but bigger impact problem is this a normal tripod head puts the camera lens very far from the center of rotation of the head—roughly 1 foot or 0.25 meter. As you tilt the head, the position of the camera increases and decreases up to that much in height! Unless your camera does not tilt during the shot, or you have an extra-special nodal-pan head, the camera height will change dramatically during the shot. A Straight Dolly Track Setup If your camera rides a straight dolly track, you can use the length of that track to set the scale, and almost the entire coordinates system if desired. While the camera height measurement setup discussed above is simpler, it is appropriate mainly for a studio environment with a flat floor. The dolly track setup here is useful when a dolly track is set up outdoors in an environment with no clearly-defined ground plane—in front of a hillside, say. For this setup, you should measure the distance traveled by the camera head down the track, by a consistent point on the camera or tripod. For example, if you have a 20’ track, the camera might travel only 16’ or so because there will be a 2’ dead zone at each end due to the width of the tripod and dolly. Measure the starting/ending position of the right front wheel, say. Next, clear any solved path (or click View/Show seed path), and animate the camera motion, for example moving from 0,0,0 at the beginning of the shot to 16,0,0 at the end (or wherever it reaches the maximum, if it comes back). You now have two main options A) mostly tracker-based coordinate setup, or B) mostly dolly-based coordinate setup, for side-of-hillside shots. For setup A, turn on only the L/R camera axis constraint checkbox on the first and last frames (only). The X values you have set up for the camera have set up an X positioning for the scene, so when you set up constraints on the trackers, they should constrain rotation fully, plus the front/back and up/down directions—but not the L/R direction since that would duplicate and conflict with the camera constraint (unless you are careful and lucky). For setup B, turn on L/R, F/B, and U/D on the first and last frames (only). You should take some more care in deciding exactly what coordinate values you want to use for each axis of the animated camera path, because those will be defining the coordinate system. [By setting keys only at the beginning and end of the shot, you largely avoid problems with the camera tilting up and down—at most it tilts the overall coordinate system from end to end, without causing conflicting constraints.] If the track is not level from end to end, you can adjust the beginning or ending height coordinate of the tracker as appropriate. But usually we expect the track to have been leveled from end to end. With X, Y, and Z coordinates keyed at the beginning and end of the shot, you have already completely constrained translation and scale, and have constrained 2 of the 3 rotation axes. The only remaining unconstrained rotation axis is a rotation around the dolly. To constrain this remaining rotation requires only a single additional tracker, and only its height measurement! On the set, you should measure the relative height of a trackable feature compared to the track (usually this will be to the base of the track, so you should also measure the height of the camera versus the base). You can measure this height using a level line (a string and a clip-on bubble level) and a ruler. On theCoordinate System Control Panel, select the tracker and set it toAny XY Planeand set the Z coordinate (for Z-up mode), or selectAny XZ Planeand set the Y coordinate (for Y-up mode). Now you’re ready to go! This setup is a valuable one for outdoor shots where a true vertical reference is required, but the features being tracked are not structured (rocks, bushes, etc). Again, we recommendnot trying to constrain the camera to be exactly linear, though you can easily set this up by locking Y and Z to be fixed for the duration of the shot, with single-frame locks on X at the beginning and end of the shot. This setup forces the camera motion to be exactly straight, but moving in an unknown fashion in X. Although the motion will be constrained, the setup willnotallow you to use fewer trackers for the solve. Using a Supplied Camera Path This section addresses the case where you have been supplied with an existing camera translation path, either from a motion-controlled camera rig, or as a result of hand-editing a previous camera solution, which can be useful in marginal tracks where you have a good idea what the desired camera motion is. After editing the path, you want to find the best orientation data for the given path. If you have an existing camera path in an external application (either from a rig, or after editing in maya or max, for example), typically you will import it using a standard or custom camera-path import script. Be sure that the solved camera path is cleared first, so that the seed path is loaded. If you have a solved camera path in SynthEyes, you can edit it directly. First, select the camera, and hit the Blast button on the 3-D panel. This transfers the path data from the solved path store into the seed path store. Clear the solved path and edit the seed path. Rewind and turn on all 3 camera axis locks L/R, F/B, and U/D. Next, configure the solver s seeding method. This requires some care. You can use the Path Seeding methodonly if your existing path includes correct orientation and field of view data. Otherwise, you can use the Automatic method or maybe Seed Points. The Refine mode is not an option since you have already cleared the solution to load the seed path, and don’t have orientation data anyway or you’d use Path Seeding. You can use Seed Points mode if you are editing the path in SynthEyes—but be sure to hit theSet Allbutton on the Coordinate System Setup Control panelbeforeclearing the prior solution, so that the points are set up properly as seeds. You should probablynotmake them locks, unless you are confident of the positions already. With the camera path locked to a complex path (other than a straight line), no further coordinate system setup is required, or it will be redundant. You can solve the scene first with the Constrain checkbox off, then switch to Refine mode, turn on Constrain, and solve again. This will make it apparent during the second solve whether or not you have any problems in your constraint setup, instead of having a solution fail unexpectedly due to conflicting constraints the first time. Camera-based Coordinate System Setup The camera axis constraints can be used in small doses to set up the coordinate system, as we’ve seen in the prior sections. Typically you will want to use only 1 or 2 keys on the seed path; 3 or more keys will usually heavily constrain the path and require exact knowledge of the camera move timing. Roughly, each keyed frame is equivalent in effect to a constrained tracker located at the same spot. You should keep that in mind as you plan your setup, to avoid under- or over-constraining the coordinate system. Soft Locks So far we have described hard locks, which force the camera exactly to the specified values. Soft locks pull more gently on the camera path, for example, to add stability to a section of the track with marginal tracking. In either case, for a lock to be active, the corresponding lock button (U/D, L/R, pan, etc) must be on. The weight values on the Hard and Soft Lock dialog controls whether locks are hard or soft. If the weight is zero (the default), it is a hard lock. A non-zero weight value specifies a soft lock. Weight values range from 1 to 120, with 60 a nominal neutral value. However, we recommend that when creating soft locks, you start with a weight of 10, and work upwards through 20, 30, etc until the desired effect is obtained. Weight values are in decibels, a logarithmic scale where 20 decibels is a factor of 10, and 6 decibels is a factor of two. So 40 is 10 times stronger than 20, and 26 is twice as strong as a weight of 20. (Decibels are commonly used for sound level measurements.) A lock can switch from hard to soft on a frame-by-frame basis, ie frames 0-9 can be hard, and 10-14 soft. You may need to key the weight track carefully to avoid slow transitions from 20 down to 0, for example. Soft locks are treated as such only when the Constrain check box is on it is the solver that distinguishes between hard and soft locks. If Constrain is off, the locks will be applied during the final alignment, when they do not affect the path at all, just re-orient it, so soft locks are treated the same as hard locks. Note that the soft lock weight isnota path blending control. You might naively be tempted to set up a nominal locked path, and try to animate the soft lock weights expecting a smooth blend between the solved path and your animated locked path. But that is not what will happen. The weight changes how seriously SynthEyes takes your request that the camera should be located at the specified position—but it will affect the tracker positions and everything else as well. Orientation Locks You can apply Pan, Tilt, and Roll rotation locks as well as translational locks. They can be used for path editing and, to a lesser extent, for coordinate system setup. For example, a roll-angle constraint can be used to keep the camera forced upright. That can be handy on tripod shots with large pans small amounts of lens distortion can bend the path into a banana shape; the roll constraint can flatten that back out. If the camera looks in two different directions with the roll locked, it constrainstwodegrees of freedom only a single pan angle is undetermined! For example, if looks along the X axis then along the Y axis, both with roll=0. You might want to think about that for a minute. The perspective window s local-coordinate-system and path-relative handles can help make specific adjustments to the camera path. Inherently, SynthEyes is not susceptible to “gimbal-lock” problems. However, when you have orientation locks, you are using pan, tilt, and roll axes that do define overall north and south poles, and you may encounter some problems if you are trying to lock the camera almost straight up or down. If this is the case, you may want to change your coordinate system so those views are along the +Y and –Y axes, for example. Object Tracking You can also use locks on moving objects, in addition to cameras. However, there are several restrictions on this, because moving objects are solved relative their hosting camera path, but the locks are world coordinate system values. If a moving object has path locks, then 1. the host camera must have been previously solved, pre-loaded, or pre-keyed, and the camera solving mode set to Disabled, 2. the translation axis locks must either all be on, or all off, and 3. the rotation axis locks must either all be on, or all off. Normally, when SynthEyes handles shots with a moving camera and moving object, it solves camera and object simultaneously, optimizing them both for the best overall solution. However, when object locks are present, SynthEyes must be able to access the camera solution first, in order to be able to apply the object locks. With the camera path, SynthEyes changes the translation and rotation axis lock values into a form usable for the object, but the individual axes are no longer available, and either all must be constrained, or none. SynthEyes will automatically turn all the enables on or off together if a moving object is active. Object locks have very hard-to-think-about impacts on the local coordinate system of the trackers within the object. Most object locks will wind up over-constraining the object coordinate system. We recommend that object locking be used only to work on the object path, not to try to set up the object coordinate system.
https://w.atwiki.jp/tiger/pages/10.html
Hematopoietic cell regulation by Rac1 and Rac2 BTK-/- mice show impaired responsiveness to Epo. BTK-/-/TEC-/- plateles fail to undergo an inccrease in Ca2+ , aggregation, secretion, and spreading in response to collagen or CRP. PLCG2 -/- mice impair vasculogenesis and erythropoiesis. Jak2 -/- mice show defective erythropoiesis. RasGRP2 -/- mice have a platelet aggregation defect. Hematopoietic cell regulation by Rac1 and Rac2 1 Science. 2003 Oct 17;302(5644) 445-9. Hematopoietic cell regulation by Rac1 and Rac2 guanosine triphosphatases. Gu Y, Filippi MD, Cancelas JA, Siefring JE, Williams EP, Jasti AC, Harris CE, Lee AW, Prabhakar R, Atkinson SJ, Kwiatkowski DJ, Williams DA. Division of Experimental Hematology, Cincinnati Children s Hospital Medical Center, Cincinnati, OH 45229, USA. The Rho guanosine triphosphatases (GTPases) Rac1 and Rac2 are critical signaling regulators in mammalian cells. The deletion of both Rac1 and Rac2 murine alleles leads to a massive egress of hematopoietic stem/progenitor cells (HSC/Ps) into the blood from the marrow, whereas Rac1-/- but not Rac2-/- HSC/Ps fail to engraft in the bone marrow of irradiated recipient mice. In contrast, Rac2, but not Rac1, regulates superoxide production and directed migration in neutrophils, and in each cell type, the two GTPases play distinct roles in actin organization, cell survival, and proliferation. Thus, Rac1 and Rac2 regulate unique aspects of hematopoietic development and function. Publication Types Research Support, U.S. Gov t, P.H.S. PMID 14564009 [PubMed - indexed for MEDLINE] BTK-/- mice show impaired responsiveness to Epo. 1 J Exp Med. 2004 Mar 15;199(6) 785-95. Epub 2004 Mar 8. Btk is required for an efficient response to erythropoietin and for SCF-controlled protection against TRAIL in erythroid progenitors. Schmidt U, van den Akker E, Parren-van Amelsvoort M, Litos G, de Bruijn M, Gutierrez L, Hendriks RW, Ellmeier W, Lowenberg B, Beug H, von Lindern M. Institute of Molecular Pathology, Vienna, Austria. Regulation of survival, expansion, and differentiation of erythroid progenitors requires the well-controlled activity of signaling pathways induced by erythropoietin (Epo) and stem cell factor (SCF). In addition to qualitative regulation of signaling pathways, quantitative control may be essential to control appropriate cell numbers in peripheral blood. We demonstrate that Bruton s tyrosine kinase (Btk) is able to associate with the Epo receptor (EpoR) and Jak2, and is a substrate of Jak2. Deficiency of Btk results in reduced and delayed phosphorylation of the EpoR, Jak2, and downstream signaling molecules such as Stat5 and PLCgamma1 as well as in decreased responsiveness to Epo. As a result, expansion of erythroid progenitors lacking Btk is impaired at limiting concentrations of Epo and SCF. In addition, we show that SCF induces Btk to interact with TNF-related apoptosis-inducing ligand (TRAIL)-receptor 1 and that lack of Btk results in increased sensitivity to TRAIL-induced apoptosis. Together, our results indicate that Btk is a novel, quantitative regulator of Epo/SCF-dependent expansion and survival in erythropoiesis. Publication Types Comparative Study Research Support, Non-U.S. Gov t PMID 15007095 [PubMed - indexed for MEDLINE] BTK-/-/TEC-/- plateles fail to undergo an inccrease in Ca2+ , aggregation, secretion, and spreading in response to collagen or CRP. 1 Blood. 2003 Nov 15;102(10) 3592-9. Epub 2003 Jul 3. Tec regulates platelet activation by GPVI in the absence of Btk. Atkinson BT, Ellmeier W, Watson SP. Department of Pharmacology, University of Oxford, Mansfield Rd, Oxford, OX1 3QT, United Kingdom. ben.atkinson@pharm.ox.ac.uk The Tec family kinase Btk plays an important role in the regulation of phospholipase C gamma 2 (PLC gamma 2) downstream of the collagen receptor glycoprotein VI (GPVI) in human platelets. Platelets also express a second member of this family, Tec; however, its function has not been analyzed. To address the role of Tec, we analyzed Btk-/-, Tec-/-, and Btk/Tec double-deficient (Btk-/-/Tec-/-) platelets. Tec-/- platelets exhibit a minor reduction in aggregation to threshold concentrations of collagen or the GPVI-specific agonist collagen-related peptide (CRP), whereas responses to higher concentrations are normal. Tyrosine phosphorylation of PLC gamma 2 by collagen and CRP is not altered in Tec-/- platelets. However, Btk-/-/Tec-/- platelets exhibit a greater reduction in PLC gamma 2 phosphorylation than is seen in the absence of Btk, thus revealing an important role for Tec in this situation. Furthermore, Btk-/-/Tec-/- platelets fail to undergo an increase in Ca2+, aggregation, secretion, and spreading in response to collagen or CRP, whereas they aggregate normally to adenosine diphosphate (ADP) and spread on fibrinogen. A residual GPVI signal exists in the Btk-/-/Tec-/- platelets as CRP synergizes with ADP to mediate aggregation. These results demonstrate an essential requirement for Tec and Btk in platelet activation by GPVI and reveal a functional role for Tec in the regulation of PLC gamma 2 in the absence of Btk. Publication Types Research Support, Non-U.S. Gov t PMID 12842985 [PubMed - indexed for MEDLINE] PLCG2 -/- mice impair vasculogenesis and erythropoiesis. 1 J Biol Chem. 2002 Mar 15;277(11) 9335-41. Epub 2001 Dec 13. Absence of erythrogenesis and vasculogenesis in Plcg1-deficient mice. Liao HJ, Kume T, McKay C, Xu MJ, Ihle JN, Carpenter G. Department of Biochemistry, Vanderbilt University School of Medicine, Nashville, Tennessee 37232,USA. Mice nullizygous for Plcg1 cease growing at early to mid-gestation. An examination of carefully preserved wild-type embryos shows clear evidence of erythropoiesis, but erythropoiesis is not evident in Plcg1 nullizygous embryos at the same stage. The analyses of embryonic materials demonstrate that in the absence of Plcg1, erythroid progenitors cannot be detected in the yolk sac or embryo body by three different assays, burst-forming units, colony-forming units, and analysis for the developmental marker Ter119. However, non-erythroid granulocyte/macrophage colonies are produced by Plcg1 null embryos. Further analysis of these embryos demonstrates significantly diminished vasculogenesis in Plcg1 nullizygous embryos based on the lack of expression of the endothelial marker platelet endothelial cell adhesion molecule-1. In addition, Plcg1 nullizygous embryos express a greatly reduced level of vascular endothelial growth factor receptor-2/Flk-1, consistent with significantly impaired vasculogenesis and erythropoiesis. Interestingly, these early embryos do express phospholipase C-gamma2, however, it is unable to substitute for the absence of phospholipase C-gamma1, which can be detected in its tyrosine-phosphorylated state. Publication Types Research Support, U.S. Gov t, P.H.S. PMID 11744703 [PubMed - indexed for MEDLINE] Jak2 -/- mice show defective erythropoiesis. 1 Cell. 1998 May 1;93(3) 397-409. Jak2 deficiency defines an essential developmental checkpoint in definitive hematopoiesis. Neubauer H, Cumano A, Muller M, Wu H, Huffstadt U, Pfeffer K. Institute of Medical Microbiology, Immunology, and Hygiene, Technical University of Munich, Germany. Janus kinases (Jaks) play an important role in signal transduction via cytokine and growth factor receptors. A targeted inactivation of Jak2 was performed. Jak2-/- embryos are anemic and die around day 12.5 postcoitum. Primitive erythrocytes are found, but definitive erythropoiesis is absent. Compared to erythropoietin receptor-deficient mice, the phenotype of Jak2 deficiency is more severe. Fetal liver BFU-E and CFU-E colonies are completely absent. However, multilineage hematopoietic stem cells (CD34low, c-kit(pos)) can be found, and B lymphopoiesis appears intact. In contrast to IFNalpha stimulation, Jak2-/- cells do not respond to IFNgamma. Jak2-/- embryonic stem cells are competent for LIF signaling. The data provided demonstrate that Jak2 has pivotal functions for signal transduction of a set of cytokine receptors required in definitive erythropoiesis. Publication Types PMID 9590174 [PubMed - indexed for MEDLINE] RasGRP2 -/- mice have a platelet aggregation defect. 1 Nat Med. 2004 Sep;10(9) 982-6. Epub 2004 Aug 29. CalDAG-GEFI integrates signaling for platelet aggregation and thrombus formation. Crittenden JR, Bergmeier W, Zhang Y, Piffath CL, Liang Y, Wagner DD, Housman DE, Graybiel AM. Department of Brain and Cognitive Sciences, and McGovern Institute for Brain Research, Massachusetts Institute of Technology, 45 Carleton Street, E25-618, Cambridge, Massachusetts 02139, USA. Signaling through the second messengers calcium and diacylglycerol (DAG) is a critical element in many biological systems. Integration of calcium and DAG signals has been suggested to occur primarily through protein kinase C family members, which bind both calcium and DAG. However, an alternative pathway may involve members of the CalDAG-GEF/RasGRP protein family, which have structural features (calcium-binding EF hands and DAG-binding C1 domains) that suggest they can function in calcium and DAG signal integration. To gain insight into the signaling systems that may be regulated by CalDAG-GEF/RasGRP family members, we have focused on CalDAG-GEFI, which is expressed preferentially in the brain and blood. Through genetic ablation in the mouse, we have found that CalDAG-GEFI is crucial for signal integration in platelets. Mouse platelets that lack CalDAG-GEFI are severely compromised in integrin-dependent aggregation as a consequence of their inability to signal through CalDAG-GEFI to its target, the small GTPase Rap1. These results suggest that analogous signaling defects are likely to occur in the central nervous system when CalDAG-GEFI is absent or compromised in function. Publication Types PMID 15334074 [PubMed - indexed for MEDLINE]
https://w.atwiki.jp/stokunaga/pages/17.html
International Conferences 1. M. Yagi, S. Tokunaga, T. Ueda, S.-I. Itoh, M. Azumi, K. Itoh, T. S. Hahm and P. H. Diamond, “Transport Simulation based on Global Turbulence Code”, US-Japan JIFT Workshop on Integrated Modeling Integrated Modeling of Multi-Scale Physics in Fusion Plasmas II, ORNL, TN, USA, January 2007 2. S. Tokunaga, S.-I. Itoh, M. Yagi, M. Azumi, “Multi-scale transport simulation with ion temperature gradient driven drift wave turbulence” 12th Numerical Experirment of Tokamak meeting, Kyoto, Japan, March 2007 (Poster) 3. S. Tokunaga, M. Yagi, S.-I. Itoh and M. Azumi, “Multi-scale transport simulation with ion temperature gradient driven drift wave turbulence”, The 2nd Japan-Korea Workshop on Theory and Simulation of Magnetic Fusion Plasmas with 6th Burning Plasma Simulation Initiative (BPSI) meeting, Fukuoka, Japan, August 2007 (Oral) 4. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Non-local turbulent effect on internal transport barrier collapse in reversed shear configuration”, 11th IAEA technical meeting on H-mode Physics and Transport Barriers, L5-A1, Tsukuba, Japan, September 2007 (Oral) 5. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Non-local turbulent effect on internal transport barrier collapse in reversed shear configuration”, 11th IAEA technical meeting on H-mode Physics and Transport Barriers, P5-13, Tsukuba, Japan, September 2007 (Poster) 6. S. Tokunaga, M. Yagi, S.-I. Itoh, K. Itoh, 9th Cross Strait Symposium, Pohang, Korea, November 2007 (Poster) 7. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Multi-scale transport simulation research with ion temperature gradient driven drift wave turbulence and toroidal momentum source” 13th Numerical Experirment of Tokamak meeting, Kyoto, Japan, March 2008 (Poster) 8. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, 2nd ITER International Summer School, Fukuoka, Japan, July 2008 (Poster) 9. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Multi-scale transport simulation of internal transport barrier formation and collapse” 22nd IAEA Fusion Energy Conference, TH/P8-19, Geneva, Switzerland, October 2008 (Poster)  10. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Toroidal momentum source profile effect on internal transport barrier collapse” 7th Burning Plasma Simulation Initiative, Fukuoka, Japan, December 2008 (Oral) 11. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Toroidal momentum source effect on turbulence evolution” 14th Numerical Experirment of Tokamak meeting, Kyoto, Japan, March 2009 (Poster) 12. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Safety factor profile dependence of turbulent structure formation in relevant to internal transport barrier relaxation” 4th IAEA-TM on the Theory of Plasma Instabilities, P2-01, Kyoto, Japan, May 2009 (Poster) 13. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Global Transport Simulation with Radial Electric Field Source”, Asia Plasma and Fusion Association 2009 and Asia-Pacific Plasma Theory Conference 2009, Aomori, Japan, October 2009 (Poster) 14. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Global Transport Simulation with Radial Electric Field Source”, US-Japan JIFT Workshop 2009 on “Advanced Simulation Methods in Plasma Physics”, Toki, Japan, December 2009 (Oral) 15. M. Yagi, S. Tokunaga, S.-I. Itoh and K. Itoh, “Off-resonance mode and poloidal flow shear effect on ITB formation”, US-Japan WS on Hierarchical Self-Organization of Turbulence and Flows in Plasmas, Oceans and Atmospheres, San Diego, US, March 2010 16. S. Tokunaga, M. Yagi, S.-I. Itoh, K. Itoh, S. S. Kim, Hogun Jhang, P. H. Diamond “Contrastive gyro-fluid simulation study of ITB formation” 5th Japan-Korea Workshop on Theory and Simulation of Magnetic Fusion Plasmas , Pohang, Korea, July 2010 (Oral) 17. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Multi-scale transport simulation of ITG turbulence in reversed shear plasma”, 1st WCI symposium, Jeju, Korea, September 2010 (Oral) 18. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, “Equilibrium flow shear and magnetic shear effect on zonal flow generation and toroidal mode coupling” 23rd IAEA Fusion Energy Conference, TH/P8-05, Daejeon, Korea, October 2010 (Poster) 19. S. Tokunaga, M. Yagi, S.-I. Itoh and K. Itoh, P. H. Diamond, “Analysis of interaction mechanism of off-resonant mode in reversed shear plasma”, 52nd Annual Meeting of the APS Division of Plasma Physics, TP9.101, Chicago, IL, USA, November 2010 (Poster)  20. Hogun Jhang, S. Tokunaga, S. S. Kim, P. H. Diamond “Role of intrinsic and external torque in ion profile de-stiffening and transport barrier formation A gyrofluid simulation study”, Joint EU-US Transport Task Force Workshop, Mom II, San Diego, USA, April 2011 21. S. Tokunaga, Hogun Jhang, S. S. Kim, P. H. Diamond, “Avalanching heat transport in steady state internal transport barriers with reversed magnetic shear”, 1st Asia Pacific Transport Working Group (APTWG) International Conference, B-P9, Toki, Japan, June 2011 (Poster) 22. Hogun Jhang, S. Tokunaga, S. S. Kim, P. H. Diamond “Role of intrinsic and external torque in the improvement of ion thermal confinement and internal transport barrier formation” 1st Asia Pacific Transport Working Group (APTWG) International Conference, PLI-3, Toki, Japan, June 2011 23. Hogun Jhang, S. S. Kim, S. Tokunaga, P. H. Diamond “Dynamics of and avalanching transport in internal transport barriers with reversed magnetic shear” 13th International Workshop on H-mode Physics and Transport Barriers, P5. 12, Oxford, UK, October 2011 24. S. Tokunaga, Hogun Jhang, S. S. Kim, P. H. Diamond, “Analysis of avalanches originated in q-minimum region”, Japan-US JIFT workshop on "Hierarchical Self-Organization of Turbulence and flows in Plasmas, Oceans and Atmospheres", Domestic Conferences 1. 徳永晋介、伊藤早苗、矢木雅敏、安積正史、 “イオン温度勾配駆動型ドリフト波乱流の非線形シミュレーション”、 第23回プラズマ・核融合学会年会、29aC30P, 筑波大、2006年11月 (Poster) 2. 徳永晋介、矢木雅敏、伊藤早苗、安積正史、 “グローバルITG乱流コードを用いた輸送シミュレーション”、 第五回核燃焼プラズマ統合コード研究会、九州大、2006年12月 (Oral) 3. 徳永晋介、伊藤早苗、矢木雅敏、安積正史、 “イオン温度勾配駆動型ドリフト波乱流の非線形シミュレーション”、 第10回プラズマ・核融合学会九州沖縄山口支部会、九州大、2006年12月 (Poster)  4. 矢木雅敏、徳永晋介、安積正史、伊藤早苗、伊藤公孝、 “Global ITGコードを用いた輸送シミュレーション” プラズマ・核融合研究におけるHigh Performance Computingワークショップ、大型シミュレーシ ョン研究会、2007年1月 5. 徳永晋介、矢木雅敏、伊藤早苗、伊藤公孝、 “トカマクプラズマにおける内部輸送障壁形成と崩壊のマルチスケール輸送シミュレーション” 第57回理論応用力学講演会、日本学術会議、2008年6月 (Oral) 6. 徳永晋介、矢木雅敏、伊藤早苗、伊藤公孝 、 “Multi-scale transport simulation of internal transport barrier formation and collapse”、 第8回核燃焼プラズマ統合コード研究会、九州大、2009年12月 (Oral)
https://w.atwiki.jp/touhoukashi/pages/6440.html
【登録タグ EUROBEAT HOLIC III Nana Takahashi Q SOUND HOLIC アリスマエステラ 幻 -MABORO- 曲】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/touhoukashi/pages/2871.html
【登録タグ Nana Takahashi SOUND HOLIC T Tabula rasa ～ 空白少女 曲 東方compilation CD 萃星霜】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/katecon/pages/25.html
General Meeting 2009 of the Historical Science Society of Japan, Section of modern history Sunday 24 may 2009, Tama Campus of the Chuo University "Order of Empire and Formation of Anarchism ~Imagination for Resistance and Solidarity~" We would like to approach "anarchism", by reviewing it in the political and historical context where its ideas and practices have taken shape and developed. Contemporary movements against globalization and neoliberalism include some currents which claim the name "anarchists." They set anarchism as a political method or vision for resistance and solidarity. Anarchism is interpreted here as the practice for solidarity between various forms of resistance beyond the state, while preserving the differences; i.e. a “movement of true globalization” (David Graever). The urgent need for historical studies on neoliberalism and globalization must also lead to a review of the history of anarchism and its relevance as a resistance force against these global trends. A wide range of researches on anarchism have been accumulated in the science of history. We cannot deny the fact, however, that most of these works were limited to the study within a nation-state or its territory. In response to the problems caused by neoliberalism and globalization, recent works on anarchism have developed based on renewed criticism of previous studies. In other words, they focus on clarification of the historical situation where anarchism was born and contemporary globalization roots, as well as the process of the development of anarchism as a resistance movement accompanying the expansion of imperialistic orders beyond the borders of nation-states. Benedict Anderson outlines a history of anarchism as it was formed during the “early globalization” of the 1880s, marked by the expansion of imperialism and global networks. In the 1880s, anarchism succeeded---better than Marxism---in organizing networks across the borders of nation-states and territories all over the world through exiles, immigrants and publications, and experienced a boom until the Russian revolution. Combination of "socialism" and the "state" tended to be regarded as inevitable after the Russian Revolution, which weakened the anarchist movement and even concealed its historical significance. It should be noted, however, that anarchism emerged and developed within the process of the world history that has continued until today. We therefore believe that further review of anarchism will lead to clarification of the historical development of "imperialism" and to comprehension of trans-state resistance from the historical point of view. The issues or tasks we propose consist of the following two points 1.Trans-Territorial Networks of "Anarchists" Some anarchists organized movements across European borders using the networks which had been made possible by the early globalization. This expansion of anarchism proceeded along with nationalist resistance against colonialism. In the 1880s, the terrorism executed previously by anarchists was taken over by European and colonial nationalists. Paradoxically anarchists succeeded in organizing their vast networks of resistance by tying national movements against imperialism to the process which goes beyond national borders. 2.Transformations of Anarchism in Relation to Imperialism and Resistance Movement It is in this historical perspective that one can clarify the meaning of anarchist thought. Through these resistance networks, anarchism has been transformed in response to the political and cultural contexts of each territory in which it evolved. Accompanying and resisting imperialism and colonialism, anarchism has continued to change its form. The discourse and practices of those who declared themselves "anarchists" did not always come in a hostile relationship with the statements and practices supporting the imperialistic order, such as capitalism, ethnicity, gender role, and regionalism. They sometimes shared the same value. This historical configuration has diversified the idea of anarchism and made it difficult for us to define its meaning. Yet, by clarifying the multi-layered historical contexts, we can have a profound understanding of the ideas of anarchism and its actuality. The diversity of contemporary anarchism in the anti-globalism movement might be considered as an extension of the re-interpretation and re-development of anarchistic resistance to imperialism and globalization. On these two points, we asked Mr. Hikaru TANAKA and Mr. Naoyuki UMEMORI for reports, and Mr. Mamoru YAMAGUCHI and Mr. Chigaya KINOSHITA for comments. We hope that many researchers in various fields of studies can participate in the symposium from around the world and have an animated debate. Yusuke KATAKURA Repporter TANAKA Hikaru ( Histoire, Histoire des idées ) Assistant professor of the Ôsaka Kyôiku University Title Les immigrants russes anarchistes aux Etats-Unis dans les années 1880-1920. UMEMORI Naoyuki ( Histoire des idées politiques japonaises) Professeur à l’Université Waseda Titre Le statut de l anarchisme dans l histoire des idées japonaises, dans sa relation avec les idées du premier socialisme. Commentater YAMAGUCHI Mamoru (littérature chinoise, anarchisme chinois) Professeur de l’Université Nihon KINOSHITA Chigaya (Politiques) Program Sunday 24 may 2009, Tama Campus of the Chuo University 742-1 Higashi-Nakano, Hachioji-shi, Tokyo 192-0393, Japan 10.10-11.10 TANAKA Hikaru 11.20-12.20 UMEMORI Naoyuki 13.30-14.00 YAMAGUCHI Mamoru 14.10-14.40 KINOSHITA Chigaya 14.40.14.50 pause 14.50-17.30 Discussion (Questions and responses) Contact KATAKURA Yusuke katecon [atmark]hotmail.co.jp
https://w.atwiki.jp/rhiramatsu/pages/17.html
Syntax sizeX = 5e-9 sizeY = 5e-9 sizeZ = 5e-9 Nx = 100 Ny = 100 Nz = 1 setgridsize(Nx, Ny, Nz) setcellsize(sizeX, sizeY, sizeZ) // setGeom(circle(sizeX, sizeY)) SnapshotFormat = "png" // single layer m = Uniform(1, 1, 0) // no need to normalize length Snapshot(m) // Neel domain wall m = TwoDomain(1,0,0, 0,1,0, -1,0,0) Snapshot(m) // vortex domain wall m = VortexWall(1, -1, 1, 1) // mx in left and right, circulation, polarization Snapshot(m) // vortex m = Vortex(1, -1) // circulation, polarization Snapshot(m) // vortex with translation m = Vortex(1, -1,).transl(100e-9, 50e-9, 0) //translation Snapshot(m) // skyrmion m = Skyrmion(-1, -1) // charge, polarization Snapshot(m) // set m in only a part of space, or a single cell m = Uniform(1, 1, 1) m.setInShape(cylinder(400e-9, 100e-9), vortex(1,-1)) m.setCell(20, 10, 0, 0.1, 0.1, -0.9) // set in cell index [20, 10, 0] Snapshot(m) Results uniform Neel wall vortex wall vortex vortex + translation skyrmion colorpalette
https://w.atwiki.jp/voice2012/pages/46.html
Paypal の支払にはすべてにTransaction IDが割り振られます 送金側/入金側でTransaction IDは異なりますが、Paypal担当者はいずれかのIDが分かれば 入金確認が可能です 受信トレイで確認できるTransaction IDは入金側のTrasanction IDなので、バイヤーから連絡が来るIDでは検索不可です