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https://w.atwiki.jp/itmsanime/pages/290.html
【作品名】ゼーガペイン OP(ノンテロップ) 【曲名】キミヘ ムカウ ヒカリ 【ジャンル】J-Pop 【価格】￥300 □■iTMS■□ 【作品名】ゼーガペイン ED(ノンテロップ) 【曲名】リトルグッバイ 【ジャンル】J-Pop 【価格】￥300 □■iTMS■□ 【作品名】ゼーガペイン 【曲名】キミヘ ムカウ ヒカリ 【ジャンル】J-Pop 【価格】￥400 □■iTMS■□ 【補足】ゼーガペイン OP曲(フルサイズ)のPV
https://w.atwiki.jp/2chshotbowwiki/pages/62.html
Desert Canyon Sanctuary Desert Canyon Sanctuary #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (lgfkgxm.png) The Desert Canyon Sanctuary is the Elite Dungeon of Earth. It represents the God Therum. 2 Players are required for this dungeon, but more are recommended. It is widely considered the hardest dungeon in MineZ, so be prepared. All four Legendary Items of Therum s Set can be obtained heree. Dungeon Information 座標 (3050, -1250) Difficulty 9.8/10 Number of Chests 29 Zombie Content Unbelievably High (Zombie and Zombie Pigman Spawners) Parkour content Extremely High Puzzle/Trap Content Very High Minimum Players 2 Other Requirements Bow and Arrows, Junk Items General Resources 水源 ✔ 作業台 X 農場 X ポーション台 ✔ Civilian Loot Common Chests X Uncommon Chests X Food Loot Common Chests X Uncommon Chests X Rare Chests X Potion Loot Common Chests X Uncommon Chests X Rare Chests 2 Tool Loot Common Chests X Uncommon Chests X Military Loot Common Chests X Uncommon Chests X Rare Chests X Epic Chests X Mythic Chests X Room Loot Common Chests X Uncommon Chests X Rare Chests X Dungeon Loot In Chests 7 Out Chests 20 Legendary Dispenser X Elite Dispenser 2 Contents Loot Chests Video Walkthrough Walkthrough Section A Section B Section C (After A and B) Trivia Loot Cheststop Oasis Room 7 dungeon_in 2 pots_rare Loot Room20 dungeon_out Video Walkthrough(top)A detailed walkthrough of the dungeon can be found here Link Walkthrough(top) Before entering, make sure the redstone lamp outside is unlit - as the sign says "If the light is off, the dungeon can be attempted!" Entrance (Difficulty 5/10) Press the button on the gold block to enter the dungeon. From there, stand on the pressure plate to be teleported to the first room. From here, drop down to the bottom of the pit and land in the water. If you miss, you will die. Section A(top) Note Section A and B must be completed to continue! Room A1 (Difficulty 3/10) Stand on the pressure plate straight ahead on the left side and go through the revealed path. There are many zombie and pigman spawners, so be quick. Room A2 (Difficulty 7/10) Here, there will be a very difficult lava parkour involving slabs. It consists of many 3 block and some 4 block jumps. Complete it. Once finished, look for a button on a wooden pillar. Shooting at it will open up the next room. Room A3 (Difficulty 5/10) This is just a small corridor with zombie spawners and cobwebs. Run through it and throw an item on the pressure plate at the back of the hallway. From here, wait for Group B to continue. Section B(top) Note Section A and B must be completed to continue! Room B1 (Difficulty 3/10) Stand on the pressure plate straight ahead on the right side and go through the revealed path. There are many zombie and pigman spawners, so be quick. Room B2 (Difficulty 6/10) Here, there is a rather elaborate maze with many zombie spawners. Navigate through it and throw an item on the pressure plate at the end. Continue along with Group A. Section C (After A and B)(top) Cavern Parkour Room (Difficulty 8/10) This is a large parkour room that takes place in a canyon. It is made difficult by the fact that zombies will likely follow you in. Complete the parkour to continue. Split Room (Difficulty 7/10) This is a mostly puzzle based room that requires your group to split up and go two ways. Have at least 1 person go into the meteor side, jump in the lava at the furthest point in the room, and throw an item on the pressure plate. Likewise, send at least one person into the other room, consisting of many skeleton skulls. Press the stone button behind a wither skeleton skull, and you will be teleported. Throw an item on the pressure plate, and press the wooden button to get teleported back into the intersection. Repeat this for the remaining 2 stone buttons. When all four pressure plates have an item on them, a door in the room with the skeleton skulls opens. Throw an item on this pressure plate either, so that you can step on a stone pressure plate in the intersection to proceed. Oasis Room (Difficulty 2/10) Here, there is a small peaceful room with 7 dungeon_in and 2 pots_rare chests and a water refill. There are also 5 hidden pressure plates scattered throughout. Throw an item on each and a hole will open in the middle of the water. Go through it to continue. Void Parkour Room (Difficulty 8/10) Here, there is a timed void parkour involving iron bars. Shoot the button on the stalactite and iron bars will appear, making the parkour possible. However, while doing it, fire charges will be shooting at you. Complete the parkour and continue to the next room. Don t fall into the 1x1 lava holes! Mob Run Room (Difficulty 5/10) Here, there is a hallway you must run through. It is littered with 1x1 lava holes and zombie pigman spawners, so be quick. From there, do the lava parkour on the other side. At the end, jump into the right hole. Wave Room (Difficulty 10/10) This is a Wave Room with many zombies and pigmen. Prepare your defenses before entering. Many zombies and pigmen will spawn, so be prepared. In the last wave, only pigmen spawn, but in great numbers. When done with the Wave Room, there is an easy parkour challenge that leads to the Boss Room. Boss Room (Difficulty 10/10) Here you will find a large room with a lava pit in the middle. Press the button on the iron block to begin. From there, obtain a "cannon round" (TNT Block) from one of the 3 droppers scattered around the room. Then throw it into the hopper and TNT will fall from the ceiling clockwise. Dodge it, and repeat for 7 waves. Collect the 9th TNT, throw it into the hopper and enjoy the firework and the sounds which symbolize that you have successfully beaten the Boss Room. From there, a door on the far side of the room will open to the Legendary Room. Legendary Room (Difficulty 0/10) Here you will find 2 Legendary Items lying on the ground. Step on the pressure plate to be teleported into the Loot Room. Loot Room (Difficulty 2/10) Here you will find 20 dungeon_out chests and a water refill. Loot them, refill your bottles and exit by stepping on the pressure plate. Exit (Difficulty 2/10) From here, follow the path out of the dungeon. It is rather long, but has a water refill. Congratulations! You have successfully beaten Desert Canyon Sanctuary! Trivia(top) The location seems to resemble Petra, Jordan, and ancient city built in the same style. The dungeon has had two exterior renovations, the first was with stone bricks and glass, and the second was with nether brick There is a lore block outside the dungeon claiming that anyone who enters, "Defiles this Goddess." Desert Canyon Sanctuary is another dungeon that has been in development for a long while, along with Shrine of the Dusk, Paluster Shrine and many more.
https://w.atwiki.jp/w44k/pages/7.html
工事中。誰か書いてみないか？ 自作着うた・動画 注意 作成した着うた・動画は個人での利用にとどめましょう。 著作権者に無断で配布したり、送信可能な状態にすることは著作権法により禁じられています。; また、着うたの自作にはそれなりの知識とスキルが必要です。わからないことがあったらgoogleなどを使って自分で調べましょう。調べて説明を読んでもわからない場合は、無理なので諦めましょう。 えせ着うた（MMF形式） 150KBまでのものが再生、登録可能です。 mmf converter IIの場合mmf converter IIをダウンロードしてインストール。 ぷっちでここやAudiocityで曲の編集 mmf converter IIの「ツール→出力ファイルサイズ設定」にて、「手動設定→150000」とします。 あとは適当に。 えせ着うたフロントエンドの場合えせ着うたフロントエンド SMAF版をダウンロードしてインストール。 ぷっちでここやAudiocityで曲の編集 えせ着うたフロントエンドの「設定→使用する音源の選択」にて、「MA7」とします。 「基本設定」タブの「音質とサイズ」で「ファイルサイズ」をクリックし、右のリストから「150」を選択します。 あとは適当に。 時間的には10～15秒程度です。メール着信音などに向いているかも。個人的にはえせ着うたフロントエンドがおすすめです。 えせ着うた(3GPP2,要QuickTimePro,LC-AAC) QuickTimeProを入手。 オーディオファイルを開く。 ファイル→エクスポートで書き出す。エクスポートは「ムービーから3G」 ファイルフォーマットは「3GPP2」 オーディオフォーマットは「AAC-LC」 データレートは「64kbps」まで 出力のサンプルレートは「24.000kHz」 W44Kをマスストレージ接続し、(リムーバブルドライブ)\PRIVATE\AU\DF\D_SD\」にエクスポートしたファイルを入れる。ファイル名は「SDU_****.3G2」とする。****は0001～9999までの連番。 500KBまで着信登録可能、1500KBまでは再生のみ可能。 ビットレート偽装を使えばもっと高いビットレートでもできるかも？ えせ着うた(3GPP2,要携帯動画変換君,HE-AAC） 工事中 動画 ファイルサイズの上限は1.5MB?20MB131MB399MBのQVGA,15fpsのファイル再生確認。どこまで行ける？ ちなみに再生時間表示が1000秒を超えると下2桁しか表示しないようです。 ファイルサイズ上限(1.5MB)越えの設定方法 必要なもの QuickTime for Windows 6.5.2以上 携帯動画変換君/ダウンロード/0.34 Camouflage_MOVIE_for_W44K.ini 下記URLの [Item*]～～Command4="rm " %TemporaryFile% .3g2"" の記述 http //www.nurs.or.jp/~calcium/wiki/index.php?W44K QuickTime for Windows 6.5.2以上をインストール 携帯動画変換君を解凍 Camouflage_MOVIE_for_W44K.iniを\3GP_Converter034\coresフォルダーの下にコピー Setup.exeを実行し、3GP2ファイル, 音声AAC形式一般設定を選んで設定ボタンを押す 3GP_Converter034フォルダー直下に出来たTranscoding.iniをメモ帳で開き[Item*]～～Command4="rm " %TemporaryFile% .3g2"" の記述を書き込む 3GP2ファイルの作成に成功してもアイコンは×表示なのは何故だろう・・・ 再生は出来るからいいんだが 3GP2ファイルをaMP経由で携帯に送るとアイコンが×表示するみたいです 3GP2ファイルをカードRW経由でMicroSDに送るとちゃんと表示。 前スレの 前スレ26 ◆KC38/aFRJkさんに感謝 Camouflage_MOVIE_for_W44K.ini（HDDより発掘されたのでページ下に添付しました。◆KC38/aFRJk） [Config] Title=W44K UUID=%A8%8C%11%D4%81%97%00%90%27%08%77%03 Build_mfra=1 [DeleteAtom] Item0=ftyp Item1=free Item2=edts Item3=uuid [InsertAtom] Item0=ftypkddi%00%00%00%00kddi3g2a3gp53gp4 Item1=uuidmvml %UUID% %00%00%00%00%FF%FF%E0%00 %TIMESTAMP% Item2=uuidenci %UUID% %00%00%00%00KDDI-KC%00W44K%00%00%00%00KCC041E0KCC041M0 Item3=uuidcpgd %UUID% %00%00%00%00%00%00%00%00%00%00%00%00%00%00%00%00%00%00%00%00 W41Kのをベースに適当に解析して作ったβなので不正ファイルになっても泣かない。 (旧Wikiからの転記者注 GoogleキャッシュではTitleの箇所が文字化けしていたので、縮めて転記しました。どなたか修正して下さい。また、動作確認していません。ご了承下さい。)
https://w.atwiki.jp/swgstring/pages/67.html
タグ 翻訳待ち 63 deed_converted You have converted three normal deeds into one elite deed. 61 harvester_cant_self_power_elite You cannot self power an elite harvester with this deed. 62 harvester_cant_self_power_normal You cannot self power a normal harvester with an elite deed. 60 have_yacht You already have a Sorosuub Yacht control device stored in your datapad. 59 msg_respec_used Congratulations! All future respecs for this character will be half off the normal rate. 56 respec_voucher Apply Character Respec Reduction 58 sui_respec_prompt Using this item will permanently lower this character s respec cost by 50%. This will apply to all future respecs. Apply respec reduction now? 57 sui_respec_title Confirm Using Respec Voucher
https://w.atwiki.jp/anime_wiki/pages/27776.html
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Industrial Marketing Strategy Frederick E. Webster? The Duchess of Malfi and Other Plays (Oxford World's Classics) John WebsterRene Weis? Barth (Outstanding Christian Thinkers Series) John B. Webster? Holy Scripture A Dogmatic Sketch (Current Issues in Theology, 1) John B. Webster? Justification The Heart of the Christian Faith a Theological Study With an Ecumenical Purpose (Academic Paperback) Eberhard JungelJohn WebsterJeffrey F. Cayzer? Pastors to Dalit (Contextual Theological Education) John C.B. Webster? Religion and Dalit Liberation An Examination of Perspectives John C. B. Webster? Ingesting Jesus Eating and Drinking in the Gospel of John (Academia Biblica (Series), No. 6.) Jane S. Webster? Religion and Dalit Liberation An Examination of Perspectives John C. B. Webster? The Church in the Canadian Era John Webster Grant? The White Devil (Drama Classics Series) John WebsterSimon Trussler? The Measurement, Instrumentation and Sensors Handbook (Electrical Engineering Handbook) John G. Webster? The New International Webster's German English Dictionary (Dictionaries) John C. Traupman? Cursed Example the Duchess of Malfi and Commonwealth Tragedy Joyce E. Peterson? Yours for the Union The Civil War Letters of John W. Chase, First Massachusetts Light Artillery (North's Civil War) John W. Chase?John S. Collier?Bonnie B. Collier? Roget's Thesaurus Of Synonyms and Antonyms (Webster's Classic Reference Library) Peter Mark Roget?John Lewis Roget?Samuel Romilly Roget? Modernism Without Rhetoric Essays on the Work of Alison and Peter Smithson Helena Webster? Barth (Outstanding Christian Thinkers) John B. Webster? Five Jacobean Tragedies (Wordsworth Classics of World Literature) Thomas Middleton?John WebsterAndrew Hadfield? The Richest East India Merchant The Life and Business of John Palmer of Calcutta, 1767-1836 (Worlds of the East India Company) Anthony Webster? The Duchess of Malfi (Drama Classics Series) John WebsterTrevor R. Griffins? Ingesting Jesus Eating and Drinking in the Gospel of John (Academia Biblica (Society of Biblical Literature) (Paper)) Jane S. Webster? Magnificent, Marvelous Martele American Art Nouveau Silver John Webster Keefe?Samuel J. Hough?Gorham Manufacturing Company?New Orleans Museum of Art? Masterpieces of Faberge Matilda Geddings Gray Foundation Collection John Webster Keefe?New Orleans Museum of Art? White Devil John Webster Calf Husbandry, Health and Welfare John Webster Bibliographical Manual John Webster Spargo? John Webster's the Duchess of Malfi (Bloom's Modern Critical Interpretations) Harold Bloom? Pronouncing Dictionary of American English John S. Kenyon? Webster's Medical Secretaries Handbook John Rhodes Haverty? Transducer and Sensors John Webster Duchess of Malfi (Crofts Classics) John WebsterFred B. Millett? Between Worlds A Study of the Plays of John Webster Dena Goldberg? 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The Dramatic Works of John Webster V1 John Webster The Dramatic Works of John Webster V2 John Webster The Dramatic Works of John Webster V3 John Webster The Dramatic Works of John Webster V4 John Webster The Church in the Canadian Era John Webster Grant? The Origins of Angling John McDonald?Sherman Kuhn?Dwight Webster?Sports Illustrated?John Langley Howard? The Voice Hearing God's Voice With Clarity, Consistency And Confidence John Webster The Works of John Webster An Old-spelling Critical Edition (The Works of John Webster) John WebsterD. C. Gunby?David Carnegie?Antony Hammond?Doreen Delvecchio? The Works of John Webster (The Works of John Webster) John WebsterDavid C. Gunby?David Carnegie?MacDonald P. Jackson? The Works of John Webster An Old-Spelling Critical Edition The White Devil, the Duchess of Malfi (Works of John Webster) John WebsterDavid C. Gunby?David Carnegie?Antony Hammond? 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Duchess of Malfi John Webster The World's Perspective John Webster and the Jacobean Drama Lee Bliss? A Winter's Snake Dramatic Form in the Tragedies of John Webster Christina Luckyj? The White Devil Discover'D Backgrounds and Foregrounds to Webster's Tragedy (American Univ Studies, Series IV, English Language Literature Vol 5) Frederick O. Waage? Canadian Protestant and Catholic Missions, 1820S-1960s Historical Essays in Honour of John Webster Grant (Toronto Studies in Religion, Vol 3) John S. Moir?C. T. McIntire? The Meters of John Webster (American University Studies, XIII, Linguistics, Vol 12) Betty Jane Schlerman? The Duchess of Malfi John WebsterBarbara Jefford?Robert Stephens?Alec McCowen? Webster's New World Thesaurus Charlton Laird?Michael Agnes? Webster's New World Notebook Grammar Punctuation Guide (Webster's New World) John A. Haslem? Calf Husbandry, Health and Welfare John Webster Inescapable Data Harnessing The Power of Convergence Chris Stakutis?John Webster Webster's New World College Dictionary (Webster's New World) Michael Agnes? Webster's Dictionary for Everyday Use John Gage Allee? Origin and Evolution of Viruses Robert G. Webster?John J. Holland?Esteban Domingo? Economic Nematology John Malcolm Webster? Clinical Engineering John G. Webster?Albert M. Cook? Webster's New World Dictionary of Quotable Definitions E. Brussel? Interfacing Sensors to the IBM PC Willis J. Tompkins?John G. Webster? U.S.-Asean Relations Implications for Business (Nanyang Business Report Series) Tan Teck Meng?Low Aik Meng?John J. Williams?John F. Webster? Therapeutic Medical Devices Albert M. Cook?John G. Webster? Webster's New World Dictionary of Acronyms and Abbreviations Auriel Douglas?Michael Strumpf? Webster's New World Word Game Word Finder Bruce Wetterau? Webster's New World Encyclopedia Brodie's Notes on John Webster's "White Devil" Webster's New World Power Vocabulary Elizabeth Morse-Cluley? John Webster-Three Plays The White Devil, the Duchess of Malfi, the Devil's Law-Case (English Library) John Webster John Webster G K Hunter?S K Hunter? The White Devil/the Duchess of Malfi/the Devil's Law-Case/a Cure for a Cuckold The Duchess of Malfi ; The Devil's Law-Case ; A Cure for a Cuckold (World's Classics) John WebsterRene Weis?Michael Cordner?Peter Holland?Martin Wiggins? Art of John Webster Ralph Berry? General Practice Under the National Health Service 1948-1997 Irvine Loudon?John Horder?Charles Webster? Oxford Student Texts John Webster The Duchess of Malfi Jackie Moore? The Oxford Handbook of Systematic Theology (Oxford Handbooks in Religion and Theology) John WebsterKathryn Tanner?Iain R. Torrance? John Webster, Citizen and Dramatist M. C. Bradbrook? North Webster A Photographic History of a Black Community Ann Morris?Henrietta Ambrose?John Wm Nagel? Crying in the Wilderness Archbishop Desmond Tutu?John Webster Open Door on John Alan Webster?Phillip McFadyen? John Webster M C Bradbrook? The Duchess of Malfi John Webster (New Casebooks) Dympna Callaghan? Fungal Ecology Neville J. Dix?John Webster Tragedy and Tragicomedy in the Plays of John Webster Jacqueline Pearson? Managing Mathematically (Business Management Administration) Terry Green?John Webster "White Devil" and "Duchess of Malfi" by John Webster (Master Guides) David A. Male? Brodie's Notes on John Webster's "Duchess of Malfi" (Brodies Notes) Graham Handley? Holiness John B. Webster? Medical Instrumentation John G. Webster? The Devil's Law-Case (New Mermaid Series) John WebsterElizabeth M. Brennan? The Duchess of Malfi (New Mermaid Series) John Webster White Devil (New Mermaid Series) John Webster The Duchess of Malfi John WebsterBrian Gibbons? Group Travel Operating Procedures Susan Webster?Ralph G. Phillips? Medical Instrumentation John G. Webster? Plays by Webster and Ford John Webster Metallographia Or, an History of Metals (History of Geology) John Webster The White Devil (Methuen Student Editions) John Webster Structural Change in the World Economy Allan Webster?John H. Dunning? John Webster (The Collected Critical Heritage Jacobean Dramatists) Don D. Moore? Duchess of Malfi (Revels Plays) John Webster Duchess of Malfi (Revels Plays) John Webster White Devil (University Paperbacks) John Webster Revise for Product Design (Advanced Design Technology for Edexcel) John Halliwell?Barry Lambert?Dave Webster? Discrete/Transistor Circuit Sourcemaster Kendall Webster Sessions? Geostatistics for Environmental Scientists Roy A. Webster? Selected Plays (Everyman's Classics S) John WebsterJohn Ford? Violence Risk Assessment and Management Christopher Webster?Stephen J. Hucker? Field Sales Management (Ronald Series on Marketing Management) Frederick E. Webster? The Plant Protection Discipline Webster H. Still? Understanding Oscilloscopes and Display Waveforms Kendall Webster Sessions?Walter A. Fischer? Industrial Marketing Strategy (Ronald Series on Marketing Management) Frederick E. Webster? Risk Assessment and Risk Management for the Chemical Process Industry Stone and Webster Engineering Corporation Harris Greenberg? Medical Instrumentation Application and Design John G. Webster? Analog Signal Processing Ramon Pallas-Areny?John G. Webster? Spectrometric Identification of Organic Compounds Robert M. Silverstein?Francis X. Webster? Medical Instrumentation Application and Design John W. Clark?Michael R. Neuman?Walter H. Olson?Robert A. Peura?Frank P., Jr. Primiano?Melvin P. Siedband?Lawrence A. Wheeler?John G. Webster? Noah Webster The Life and Times of an American Patriot Harlow G. Unger? Market-Driven Management How to Define, Develop, and Deliver Customer Value (Wiley Series on Marketing Management) Frederick E. Webster? Bioinstrumentation John G. Webster? Encyclopedia of Medical Devices And Instrumentation John G. Webster? Sensors and Signal Conditioning (Sensors) Ramon Pallas-Areny?John G. Webster? Design for Biomedical Engineers John G. Webster?Ramon Pallas-Areny? Spectrometric Identification of Organic Compounds Robert M. Silverstein?Francis X. Webster?David J. Kiemle? Wiley Encyclopedia of Electrical and Electronics Engineering Supplement 1 John G. Webster? Noah Webster The Life and Times of an American Patriot Harlow G. Unger? Tissue Ablation Devices And Procedures John G. Webster? The Spectrometric Identification of Organic Compounds Robert M. Silverstein?Francis X. Webster?David Kiemle? Sensors and Signal Conditioning Ramon Pallas-Areny?John G. Webster? Tactile Sensors for Robotics and Medicine John G. Webster? Industrial Marketing Strategy (Wiley Series on Marketing Management) Frederick E. Webster? Medical Instrumentation Application And Design John G. Webster? Bioinstrumentation John G. Webster? Encyclopedia of Medical Devices and Instrumentation (Encyclopedia of Medical Devices Instrumentation) John G. Webster? Sources of Self-evaluation Murray Webster?B. Sobieszek? Industrial Marketing Strategy (Marketing Management) Frederick E. Webster? Neurotransmitters, Drugs and Brain Function David Brown?Alasdair Gibb?Mark Farrant?Anthony Dickenson?R. A. Webster? Troubled Families - Problem Children Working With Parents A Collaborative Process Carolyn Webster-Stratton?Martin Herbert? Troubled Families-- Problem Children Working With Parents A Collaborative Process Carolyn Webster-Stratton?Martin Herbert? Geostatistics for Environmental Scientists (Statistics in Practice (Chichester, England).) Richard Webster?Margaret A. Oliver? Modernism Without Rhetoric Essays on the Work of Alison and Peter Smithson (Academy Editions) Helena Webster? Electronic Devices for Rehabilitation (Medical Instrumentation and Clinical Engineering Series) John G. Webster? Duchess of Malfi (New Mermaid) John WebsterElizabeth M. Brennan? King John Webster's French Thesaurus ICON Reference? King John Webster's Thesaurus Edition ICON Reference? The Duchess of Malfi (Dover Thrift Editions) John Webster The Devil's Law Case (New Mermaid) John Webster King John Webster's German Thesaurus ICON Reference? King John Webster's Spanish Thesaurus Edition ICON Reference? King John Webster's Chinese-simplified Thesaurus ICON Reference? King John Webster's Italian Thesaurus Edition ICON Reference? King John Webster's Korean Thesaurus Edition ICON Reference? The Library of Dr John Webster Peter Elmer? Operating Procedure for Simulation Farm Planning Graham Francis Donaldson?John Paul Garrett Webster? Knowledge-based Microcomputer Systems for Disease Control in Winter Wheat John Paul Garrett Webster?R J Cook? Duchess of Malfi John WebsterKathleen & Uglow, Jennifer McLuskie?Jennifer Uglow? Barth's Moral Theology (Academic Paperback) John B. Webster? A Church as It Should Be Christopher Webster?John Elliott? The Duchess of Malfi John WebsterBrian Gibbons? Fayre and Happy Milke-Mayd John Webster John Webster and Jacobean Tragedy Nicholas Brooke? Lord Byron's Hit Single John Avnro Webster? Duchess of Malfi John WebsterKathleen & Uglow, Jennifer McLuskie?Jennifer Uglow? John Webster K H Ansari? God is Here John Webster Edward Lear's Nonsense Single Edward Lear?John Webster Tonge Moor Childhood John Wright Webster? Confessing God Essays In Christian Dogmatics II John Webster Rudolf Bultmann John Webster Webster's New World Style Guide Custom Edition Michael E. Agnes Webster Compact School and Office Dictionary Michael E. Agnes The Shape of Self (Edinburgh Studies in Constructive Theology) John Webster Office Max Webster's New World Back to School Display WILEY? Hasting Webster's New World Back to School Bundle WILEY? History and Contemporary India John C B Webster? Webster's New World Dictionary Michael Agnes? Webster's New World Pocket Thesaurus Sister Agnes? Bishop Desmond Tutu Desmond Tutu?John Webster? A Concordance to the Works of John Webster (Salzburg Studies Jacobean Drama Studies) Richard Corballis?J.M. Harding? Webster's New World Roget's A-Z Thesaurus Sister Agnes? Webster's New World Compact Desk Dictionary and Style Guide Custom Sister Agnes?
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#blognavi Pink is coming out with a new video that s sure to get the trash-talking started. "Stupid Girls" parodies a slew of celebs who exude superficiality. The video makes references to Paris Hilton, Jessica Simpson, Mary-Kate Olsen and Lindsay Lohan. ピンクは、trash-talkingすることを始めさせることは確実である新しいビデオを出しています。「stupid Girls」は、浅薄を滲ませる多くの有名人をパロディ化します。ビデオは、パリヒルトン、ジェシカシンプソン、メアリー-ケイトオルセンとリンジーローハンへの言及をします。 カテゴリ [Olsen News] - trackback- 2006年01月21日 15 29 14 名前 コメント #blognavi
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Ryota Matsumoto is the renowned philosopher and visual artist known for the hybrid art and postdigital theory. He is a principal and founder of an award-winning interdisciplinary design office, Ryota Matsumoto Studio based in New York and Tokyo. Education Born in Tokyo, he was raised in Hong Kong and Japan. He received a Master of Architecture degree from University of Pennsylvania in 2007 after his studies at Architectural Association in London, Mackintosh School of Architecture, Glasgow School of Art and University of Miami in early 90’s. Matsumoto has previously collaborated with a cofounder of the Metabolist Movement, Kisho Kurokawa, and with Arata Isozaki, Peter Christopherson, Cesar Pelli and MIT Media Lab before establishing his office. Architectural and Visual Work As a designer and consultant of Nihon Seikei Inc. and Japanese railway, he has worked on high-profile projects including Kyushu University Ito Campus masterplan(2003-2005), Shinjuku redevelopment project in Tokyo(2009-2012), Bach Mai hospital in Hanoi(2000) and Qingdao mixed-use development in China(2011). He has presented his work on posthumanism, digital design and bio art at the 5th symposium of the Imaginaries of the Future at Cornell University, the Espaciocenter workshop at TEA Tenerife Espacio de las Artes, Oslo National Academy of the Arts, UCI Claire Trevor School of the Arts and NTT InterCommunication Center as a visual artist. As a video producer, he has worked with Peter Christopherson for Japanese Nike commercial and contributed to the promotional projects for his first solo album as Threshold Houseboys Choir. His academic career started as a teaching assistant for architectural historian, Vincent Joseph Scully Jr. and his seminar, the Natural and Manmade in 1993. During his visiting fellowship at the Glasgow school of Art, he has been engaged in research on the process of integrated urban regeneration under the guidance of Giancarlo De Carlo and Isi Metzstein. He continued his pursuit in urban studies and participated in seminal research projects with MIT Media Lab and KieranTimberlake exploring high-rise modular housing, sustainability and design interventions for Dhaka, Bangladesh in 2005. He has served as an MFA advisor of Transart institute, University of Plymouth and teaches at Asagaya Institute of Art and Design as a professor of practice. He is a research associate at the New Centre of Research Practice found by Mohammad Salemy, Jason Adams and Reza Negarestani. Matsumoto is the recipient of Visual Art Open First Prize, FILE (Electronic Language International Festival) Prix Lux Prize, Florence Biennale Mixed Media 2nd Place Award, Premio Ora Prize Italy 5th Edition, Premio Ora Prize Spain 1st Edition, Donkey Art Prize III Edition Finalist, Best of Show IGOA Toronto, Art Kudos Best of Show Award, Lynx International Prize Be Art Builder Award, Lumen Prize Finalist and Western Bureau Art Prize Honorable Mention. He was awarded the Gold Artist Prize from ArtAscent Journal, the 1st Place Prize from Exhibeo Art Magazine and the Award of Excellence from the Creative Quarterly Journal of Art and Design in 2015 and 2016. His work is part of the permanent collection of University of Texas at Tyler. His work, writings, and interviews were published in Kalubrt Magazine, University of North Carolina Wilmington Journal Palaver, Furtherfield.org, The Journal of Wild Culture, Studio Visit Magazine, Fresh Paint Magazine, H+ Magazine, International Artist Magazine, Made In Mind Magazine, Arizona State University Journal Superstition Review, Creative Review, Next Nature Network, Rhizome.org, Carbon Culture Review, KooZA/rch, Supersonic Art, Component Design (Winka Dubbeldam ed.), Post Digital Aethetics (Berry and Dieter ed.), Drawing Discourse (University of North Carolina Asheville), Highlike(SEPI-SP editors) and Drawing Futures (The Bartlett UCL) among others. Matsumoto s multidisciplinary projects have been exhibited recently at Meadows Gallery University of Texas at Tyler, S. Tucker Cooke Gallery University of North Carolina Asheville, Sebastopol Center for the Arts, National Museum of Korea, Van Der Plas Gallery, ArtHelix Gallery, Caelum Gallery, Limner Gallery, the Cello Factory, University of the District of Columbia, Lux Art Gallery, Studio Montclair, Manifest Gallery, Tenerife Espacio de las Artes, Art Basel Miami, ISEA International, FILE Sao Paulo, Nook Gllery and Arts and Heritage Centre Altrincham. He also had solo exhibitions at Transylvania University (2015), Los Angeles Center of Digital Art (2016) and Alviani ArtSpace, Pescara (2017). Official Website http //ryotamatsumoto.com
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大会成績 動画 http //www.stage6.com/user/fackyou/video/1977489/watch20071222part1 [watching legendryH MicroSD anniversary] part1 http //www.stage6.com/user/fackyou/video/1977489/watch20071222part2 [watching legendryH MicroSD anniversary] part2 http //www.stage6.com/video/2042032/ [紅白BO合戦 Anniversary vs そめ ] ホームページ かなりのレベルの火力把握をつかってくる。しかしそれゆえの弱点もあるが、安定した動きをみせている。かなり硬い。（legendaryQ） 攻撃的かなりのバランス 波がある 把握が高い 火力把握がやばい （Bomberman Online International part5 88より引用 ） 把握位置取り技術全て良い。時折魅せる動きをする。 （Bomberman Online International part4 263より引用 ） 名前 コメント すべてのコメントを見る
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Human Figure Proportions - Cranial Units - Robert Beverly Hale 人体の比率 - Robert Beverly Haleによる頭蓋ユニット - https //www.youtube.com/watch?v=uJMoplyGboI http //www.proko.com/human-figure-proportions-cranium-unit-hale/ In the last lesson we looked at Dr.Paul Richer s system of measuring human proportions based on the height of the head. 前回のレッスンでは、 Dr.Paul Richerの 頭の高さに基づいた人体比率についてみていきました。 In this lesson we ll take a look at a different approach, based on the same proportions as Richer s, but uses a different unit for measuring. 今回のレッスンでは、 違うアプローチに取り組みます。 Richerのと同じ比率に基づきますが、 異なる計測の単位を用います。 At first glance head height seems like the logical unit to measure from. 一見したところ、 頭の高さというのは計測するのに理にかなっているように見えます。 It s the most commonly used method and the one used by most canons throughout history. それは最もよく使われるメソッドであり、 歴史を通して最も確立された規範です。 If Leonardo DaVinci used it, it must be the best way, right? レオナルド・ダ・ヴィンチが使っているのだから、 最も優れた方法ですよね？ [show daVinci s Vitruvian man] Well, that s up to each artist to decide, but although it s not as popular, Robert Beverly Hale s Cranial method definitely gives The Head Height method a run for its money. 勿論、それは個々のアーティストが決めることです。 しかし、先に述べたほどに一般的でないとしても、 Robert Beverly Haleの頭蓋メソッドは、 頭の高さのメソッドといい勝負をするでしょう。 Since no method is perfect, you choose which one works best for you. どのメソッドも完璧ではないので、 皆さんに合うものを選んでください。 Hale s method uses the size of the cranium as the unit. Haleのメソッドは、頭蓋(頭の骨から下あごを除いた部分)の大きさを単位として使います。 This method is used today by artist like Glenn Vilppu, Marshall Vandruff and Michael Mentler. このメソッドは、今日では、Glenn Vilppu、 Marshall Vandruff、Michael Mentlerなどの アーティストが用いています。 The advantage of this method is that many important skeletal landmarks correspond to this unit, unlike with the head method that aligns with nipples and navel as landmarks, which vary a lot more than skeletal landmarks. このメソッドの利点は、 多くの骨格上のの目印がこのユニットに対応していることです。 目印としての乳首や臍 (それらは骨格上の目印より変化しやすいものです) に沿った頭部メソッドとは違うわけです。 Also the size of the cranium can be measured from any head angle and doesn t change. また、頭蓋の大きさは、どんな頭の方向からも計れまた変化しません。 However the length of the head changes as the jaw open and closes, or as the head is foreshortened. しかしながら、頭の長さは顎が開いたり閉じたり または短縮遠近されると変化します。 Hale s method seems to be more consistent and more reliable when drawing a person in a pose. Haleのメソッドは、ポーズの最中の人物を描くときには より一貫性と信頼性があるように思えます。 I asked Marshall Vandruff why he prefers it and this it what he said. 私はMarshall Vandruffに、なぜこの方法を好むのか問いました。 そして彼が言ったことがこれです。 I don t like the head-length system. 私は頭の長さ式を好みません。 It s great for straight-on studies, but it breaks down when you foreshorten anything, especially when you foreshorten the head. 棒立ちには良いですが、 何か短縮遠近したものを描こうとするときに破綻します。 とりわけ頭が短縮遠近しているときです。 Unless you have a full-view of the head, you have no unit to begin. 頭全体が見えているときでない限り、 始めるべき単位が見つかりません。 I like Robert Beverly Hale s head-width system for a number of reasons, The first is that you can find head width when the head is in any position - it makes a sphere at back of the cranium, and a sphere never foreshortens. 私は、Robert Beverly Haleの頭の幅方式を色々な理由から好んでいます。 第一に、頭蓋の後ろの方は球状になっており、いかなる姿勢においても 短縮遠近されないためその幅は変わりません。 This is a measurement that echoes through the body and isn t dependent on seeing the height of the head. このことは、人体全体にわたって反響し、 頭の高さを比較単位にするやり方に依存しません。 If you can draw a ball, you can look at a head in any position and deduce that ball. もし皆さんがボールを描けるのなら、 どの体勢の頭を見てもそのボールを推測できます。 Ok, let s go over the details of this method. はい、このメソッドの詳細を見ていきましょう。 The unit itself can be measured from the back view by taking the width or height of the cranium. 計測の単位は、 人体の後ろから見たときの頭蓋の幅もしくは高さから得られます。 From the front you can use the width or the height down to the bottom of the nose. 前からは、 幅か、もしくは鼻の底までの高さを使えます。 But, keep in mind that the bottom of the nose will only align with the cranium if the head isn t facing up or down. しかし、 覚えておいてほしいのは、 鼻の底までの高さを使えるのは、 頭が上を向いたり下を向いたりしていない場合だけです。 So, the width is more reliable from the front. ですので、前から見た場合、横幅のほうが信頼できる指標になります。 From the side you should use the height of the cranium, since the width is too long. 横から見た場合、頭蓋の高さを使いましょう。 幅は長すぎるからです。 An additional quarter of a unit is added on to the front. 頭蓋にユニットに頭蓋ユニットの1/4を加えたものが横幅になります。 This cranial unit can be measured with the width or height from any angle even when the head is foreshortened because the shape of a ball isn t affected by foreshortening. 球形は、短縮遠近に影響されませんので、 たとえ頭が短縮遠近されたときでも、 頭蓋ユニットは、どのアングルからでも、その高さと幅で測ることができます。 A ball is a ball from any angle. ボールはどのアングルから見てもボールです。 So, we ll take this cranial size and think of it as a box unit. さて、この頭蓋の大きさを把握したら、 それを箱型のユニットとして考えてみましょう。 We ll use this box to find 3dimensiomal placement of the landmarks on the skeleton. この箱を、骨格上の目印の三次元的な配置を見つけるために使いましょう。 One unit down brings you to the pit of the neck. 箱一つを下げると、首の下のくぼみです。 For the torso let s use a width of two units. トルソの幅は、2ユニットです。 The sternum is one unit long not including the xiphoid process. 胸骨は、剣状突起を含まない場合1ユニットです。 One more down to the corners of the ribcage at the 10th ribs. もう1ユニット下がると、胸郭の角、第10肋骨のあるあたりです。 So, notice how the width the rib cage doesn t quite reach the edges of this 2x2 box. 胸郭がこの2x2ボックスの幅に完全には達していないことに気を付けてください。 And the top plane of the rib cage, indicated by the oval of the first rib, faces towards the front as you can see from this side view. そして、胸郭のてっぺんの面は、第1肋骨による楕円形で形作られていますが、 今皆さんの視点からは正面を向いています。 So, the back of the ribcage is up higher than this 2x2 box. ですので、胸郭の背後は、2x2ボックスの高さより若干高くなっています。 The length of each clavicle is 1 unit. 各々の鎖骨の長さは1ユニットです。 Keep in mind that these units are slightly separated because of the gap at the pit of the neck. これらのユニット(鎖骨)は首のくぼみの隙間のせいで 若干分かれていることに気を付けてください。 In the back, the width and height of the scapulas fit into the box. 背後では、肩甲骨の幅と高さは箱に一致します。 In a relaxed position the distance between the scapulas near the bottom is also 1 unit. 中立姿勢では、 肩甲骨の底あたり同士の距離もまた1ユニットです。 One more unit down takes us to the corners of the pelvis, known as the ASIS. もう1ユニット下がると、骨盤の角です。 ASISとして知られています。 And one more down just past the bottom of the pelvis. もう1ユニット下がると、ちょうど骨盤の底です。 On a male, the distance between the greater trochanters is two units. 男性では、大転子同士の距離は2ユニットです。 The width of the pelvis is equal to the ribcage. 骨盤の幅は、胸郭と同じです。 The 10 rib and ASIS points also line up. 第10肋骨とASISは同じ線上に並びます。 On a female the width of the Pelvis is 2 units and it no longer aligns with the rib cage. 女性では、 骨盤の幅は2ユニットで、胸郭とは並びません。 The distance between the greater trochanters is wider too. 大転子同士の距離も広くなっています。 On the pelvis there are also some convenient alignments using half units. 骨盤に於いて、ユニット半分単位を用いた 便利な整列が存在します。 The top of the iliac crest is at the halfway mark of this box and the top of the pubic bone and greater trochanters is at the halfway mark here. 腸骨稜の頂点は、この箱の半分のところであり、 また、恥骨のてっぺんと大転子は、この箱半分のところにあります。 So, when drawing the front of the pelvis, look for these 5 points and remember their distances. ですので、骨盤の正面を描くときには、 これら五つの点を探し、それらの距離を思い出してください。 From the side, the pit of the neck and the ribcage align with the edges. 横から見ると、 首のくぼみと、胸郭は、箱の境界に整列しています。 Then the sternum comes out forward and the cartilage continues to come forward past the pit of the neck about half a unit. その後、胸骨は前方に飛び出、 軟骨が胸骨を超え、おおよそユニット半分ほど飛び出ます。 The depth of the pelvis is conveniently 1 unit. 骨盤の奥行きは、都合のいいことに1ユニットです。 We ve already found the placement of the greater trochanters relative to the pelvis. 我々はすでに、骨盤に対する大転子の位置を見つけています。 3 units down ends at the connection of the bottom of the femur and top of the tibia. 3ユニット下がると、大腿骨の底の接続部と、脛骨のてっぺんです。 Another 3 units to the heels. さらに3ユニット下がるとかかとです。 The foot from the side is 1.5 units long and half a unit tall. 側面から見た足(くるぶしから下)は、1.5ユニットの長さで、高さはユニット半分です。 Finally the arms. 最後に腕です。 The length of the humerus is 2 units. 上腕骨の長さは2ユニットです。 And from the elbow to the knuckles of the hand is another 2 units. 肘から手のナックルまではまた2ユニットです。 The hand itself is a bit longer than 1 unit. 手自身は1ユニットより若干長くなっています。 That s it! 以上です。 Since this system uses a 3-dimensional box for measuring, one of its advantages is that it s manageable when something is foreshortened, as long as you are capable of drawing a box in perspective. このシステムは計測に三次元の箱を使っているので、 その利点の一つが、 皆さんが遠近法に於いて箱を描くことが出来るのならば、 何か短縮遠近されたときに使いやすいということです。 If not, then you might need to go back to the structure lesson and practice that again. もしできないのならば、構造のレッスンに戻って練習しなおしましょう。 So, for example with this foreshortened leg.. 例として、この短縮遠近された足です。 We know from the top of the greater trochanter to the bottom of the femur is 3 boxes long. 我々は、大転子から大腿骨の底までは 箱三つ分だということを理解しているわけです。 So, if we can draw these 3 boxes in perspective, we can then fit the leg into those boxes. ですので、透視図法で三つの箱を描けば、 脚をその箱に収めることができるわけです。 Ok, so we ve explored 3 different systems of human proportions. はい、 我々は三つの異なる人体比率のシステムを探求しました。 Like I said, these work really well in neutral poses and as a general guide when you re drawing from your imagination. 私が述べたように、 これらは、皆さんが想像から人物を描く場合、 中立姿勢と一般的なガイドとして役に立ちます。 Sometimes it can come in handy when drawing from a model. 時々モデルから描く場合にも役に立つでしょう。 But, when you re drawing from a model or photo reference, measuring is much more practical. しかし、皆さんがモデルもしくは写真資料から描く場合、 このような計測はより実践的なものとなるでしょう。 So, in the next lesson I ll show you how to lay-in your drawing using various measuring techniques. ですので、 次のレッスンでは、 様々な計測の技術を用いてどのように紙面に配置するか お見せします。 "You are an artist now, you must make your own decisions. あなたはもはや一人の芸術家なので、 あなたはあなた自身の決定を下さなければならない。 Do you prefer the proportions of Rubens or Michelangelo? あなたはルーベンス、もしくはミケランジェロの比率どちらを好みますか？ Or would you like to leave the ball of the abdomen out altogether, like Henry Moore?" または、ヘンリー・ムーアのように、 腹部のボールを取り去ってしまいたいですか？ Robert Beverly Hale I ve created a downloadable diagram that you can print out for your reference. 皆さんが資料としてプリントアウトできるようにダウンロードできる図表を用意しました。 Find the link in the description below. 下にあるビデオの説明にリンクがあります。 And I have posters available for purchase at proko.com/store. またはproko.com/storeでポスターが買えます。