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I INTRODUCTION I イントロダクション The best things in an artist s work are so much a matter of intuition, that there is much to be said for the point of view that would altogether discourage intellectual inquiry into artistic phenomena on the part of the artist. Intuitions are shy things and apt to disappear if looked into too closely. And there is undoubtedly a danger that too much knowledge and training may supplant the natural intuitive feeling of a student, leaving only a cold knowledge of the means of expression in its place. For the artist, if he has the right stuff in him, has a consciousness, in doing his best work, of something, as Ruskin has said, not in him but through him. He has been, as it were, but the agent through which it has found expression. 芸術家の作品の中でもっとも良いものは直観に満ちているので、芸術家の要素をなす芸術的才能なるものについての知的な探究を完全に思いとどまらせようとする立場にとってはかなり有利である。直観は引っ込み思案で、近づいて見ようとすれば消えてしまいやすいものである。そして過剰な知識とトレーニングには、学生の自然で直観的な感性を、表現の意味についての冷めた知識に置き換えてしまうおそれがたしかにある。芸術家としては、彼が正しい資質を備えており、傑作を描く中でラスキンの言う「彼の中にはないが彼の中を通る」何ものかについての自覚を持つならば、彼はいわばそれを通して表現を発見する代理人であるだろう。 Talent can be described as that which we have, and Genius as that which has us. Now, although we may have little control over this power that has us, and although it may be as well to abandon oneself unreservedly to its influence, there can be little doubt as to its being the business of the artist to see to it that his talent be so developed, that he may prove a fit instrument for the expression of whatever it may be given him to express; while it must be left to his individual temperament to decide how far it is advisable to pursue any intellectual analysis of the elusive things that are the true matter of art. 才能は「われわれが持っているもの」、天才は「われわれをとらえるもの」と言える。さて、われわれはこの「われわれをとらえる」力をほとんどコントロールできないし、そのうえわれわれはその影響力にいやおうなく溺れてしまうが、どんな表現であれそれに適切な道具を示せるほどに才能を伸ばすようにするのが、芸術家の仕事であるということには、ほとんど疑いがないだろう。他方、芸術の本質というつかみどころのないものを知的に分析することを続けるのがどれだけ賢明であるかどうかは、彼個人の気質によって判断されるはずである。 Provided the student realises this, and that art training can only deal with the perfecting of a means of expression and that the real matter of art lies above this and is beyond the scope of teaching, he cannot have too much of it. For although he must ever be a child before the influence that moves him, if it is not with the knowledge of the grown man that he takes off his coat and approaches the craft of painting or drawing, he will be poorly equipped to make them a means of conveying to others in adequate form the things he may wish to express. Great things are only done in art when the creative instinct of the artist has a well-organised executive faculty at its disposal. このことや、芸術のトレーニングはある表現手段の徹底を扱うにすぎないこと、また本当の芸術というものはその上に存在し、教育の範疇を超えているということを理解している生徒は、いすぎて困るということはない。なぜなら彼は彼を動かす影響力の前では子ども同然でさえあるが、もし彼にコートを脱ぎペインティングやドローイングの技術に近づくだけの成長した人間の知性がなければ、彼は自分が表現したいことを十分な形式で他人に伝える手段にすることができないだろう。偉大なものは、芸術家の創造的直観が、彼が自由に使えるよく組織されたな実践的な能力を持つときに、芸術においてのみなされる。 ＊ ＊ ＊ ＊ ＊ * * * * * Of the two divisions into which the technical study of painting can be divided, namely Form and Colour, we are concerned in this book with Form alone. But before proceeding to our immediate subject something should be said as to the nature of art generally, not with the ambition of arriving at any final result in a short chapter, but merely in order to give an idea of the point of view from which the following pages are written, so that misunderstandings may be avoided. 絵画の技術的な学習は、フォルムと色という、2つの領域に分けられるが、われわれは本書においてフォルムのみを扱う。しかし本論に進む前に、芸術一般の本質についていくらか言及しておくべきだろう。これはいきなり最終的な結論に達しようというのではなく、以降の論述が立脚する視点の考え方を示し、誤解を避けるためのものにすぎない。 The variety of definitions that exist justifies some inquiry. The following are a few that come to mind Art is nature expressed through a personality. But what of architecture? Or music? Then there is Morris s Art is the expression of pleasure in work. But this does not apply to music and poetry. Andrew Lang s Everything which we distinguish from nature seems too broad to catch hold of, while Tolstoy s An action by means of which one man, having experienced a feeling, intentionally transmits it to others is nearer the truth, and covers all the arts, but seems, from its omitting any mention ofrhythm, very inadequate. 存在する数多くの定義がいくつかの探究を正当化している。以下に思いつくものを若干挙げてみよう。 「芸術とは個性を通して表現される本質である」 しかし建築はどうだろう？ あるいは音楽は？ それならウィリアム・モリスによるものがある。 「芸術とは仕事における喜びの表現である」 しかしこれは音楽と詩には当てはまらない。アンドリュー・ラングによる、 「われわれが自然から区別するすべてのもの」 という定義は広すぎて捉えられない。一方、トルストイの 「ある感情を経験した人間が、それを他者に伝えようとして用いられる行為」 という定義はより真実に近く、すべての芸術をカバーしているが、しかし“リズム”について言及していない点で、あまり適当ではないように思われる。 ＊ ＊ ＊ ＊ ＊ * * * * * Now the facts of life are conveyed by our senses to the consciousness within us, and stimulate the world of thought and feeling that constitutes our real life. Thought and feeling are very intimately connected, few of our mental perceptions, particularly when they first dawn upon us, being unaccompanied by some feeling. But there is this general division to be made, on one extreme of which is what we call pure intellect, and on the other pure feeling or emotion. The arts, I take it, are a means of giving expression to the emotional side of this mental activity, intimately related as it often is to the more purely intellectual side. The more sensual side of this feeling is perhaps its lowest, while the feelings associated with the intelligence, the little sensitivenesses of perception that escape pure intellect, are possibly its noblest experiences. さて、現実は知覚によってわれわれの意識に伝えられ、われわれの真の生活を構成する思考と感覚の世界を刺激する。思考と感覚はひじょうに密接に繋がっており、精神的認識は、とくにはじめてそれがもたらされる場合、ほとんど何らかの感覚を伴う。しかしここに一般的な区分を設けて、一方の極を純粋な知性、他方を純粋な感覚や感情と呼ぶことにしよう。私の言う芸術とは、この精神的活動の感覚的側面に表現を与える手段のことであり、それはじっさいはより純粋な知的側面としばしば密接に結びつく。この感覚の官能的な部分が多いものは、おそらく最低だろう。一方、知性に結びついた感覚、つまり純然たる知性を逃れるだけのごくわずかな感受性は、もっとも崇高な体験であるだろう。 Pure intellect seeks to construct from the facts brought to our consciousness by the senses, an accurately measured world of phenomena, uncoloured by the human equation in each of us. It seeks to create a point of view outside the human standpoint, one more stable and accurate, unaffected by the ever-changing current of human life. It therefore invents mechanical instruments to do the measuring of our sense perceptions, as their records are more accurate than human observation unaided. 純粋な知性は、知覚によってわれわれの意識にもたらされた事実から、正確に計測され、誰にとっても等しいありのままの現象界を組み立てようとする。それは人間の外に立ち、たとえ現在の人間の生活が変わったとしても影響をを受けないような、より確実かつ正確な視点を作ろうとする。それゆえ、知性はわれわれの知覚を計測するのに機械的な道具を発明する。それらの記録は、機械の補助のない人間が行う観察よりも正確なのだ。 But while in science observation is made much more effective by the use of mechanical instruments in registering facts, the facts with which art deals, being those of feeling, can only be recorded by the feeling instrument--man, and are entirely missed by any mechanically devised substitutes. しかし、科学的観測では事実の記載に機械的道具を使うことがより有効だとしても、芸術が扱う事実は、感覚的道具――人間によってしか記録できず、機械的に発明された物体によってはまったく理解できない。 The artistic intelligence is not interested in things from this standpoint of mechanical accuracy, but in the effect of observation on the living consciousness--the sentient individual in each of us. The same fact accurately portrayed by a number of artistic intelligences should be different in each case, whereas the same fact accurately expressed by a number of scientific intelligences should be the same. 芸術的な知性は、この機械的正確さの観点から見たものではなく、生きた認識――感覚を持ったわれわれ個人――についての観察結果に関心を持つ。科学者たちが同じ事実を正確に表現すればどれも同一になるが、芸術家たちが正確に描いた同じ事実は、それぞれ異なったものになるにちがいない。 But besides the feelings connected with a wide range of experience, each art has certain emotions belonging to the particular sense perceptions connected with it. That is to say, there are some that only music can convey those connected with sound; others that only painting, sculpture, or architecture can convey those connected with the form and colour that they severally deal with. しかし幅広い経験と結びついた感覚のほかに、それぞれの芸術には、それと関係する特別な知覚を伴った、ある感情が存在する。すなわち、音と関係するものは、音楽だけが伝えることができ、フォルムと色に関係するものは、それらを各々扱う絵画、彫刻、建築だけが伝えることができる。 In abstract form and colour--that is, form and colour unconnected with natural appearances--there is an emotional power, such as there is in music, the sounds of which have no direct connection with anything in nature, but only with that mysterious sense we have, the sense of Harmony, Beauty, or Rhythm (all three but different aspects of the same thing). 抽象的なフォルムと色、つまり自然にはないフォルムと色には、感情的なパワーがある。それはまるで音楽――そこでは音が自然とは直接には結びつかず、われわれが持つその不思議な感覚、すなわち、調和、美、リズム（これら3つは同じものの異なる側面を表す）だけに結びついている――にあるようなパワーである。 This inner sense is a very remarkable fact, and will be found to some extent in all, certainly all civilised, races. And when the art of a remote people like the Chinese and Japanese is understood, our senses of harmony are found to be wonderfully in agreement. Despite the fact that their art has developed on lines widely different from our own, none the less, when the surprise at its newness has worn off and we begin to understand it, we find it conforms to very much the same sense of harmony. この内的な感覚は非常に重要な事実であり、すべての（たしかにすべての文明的な）人種に広範に見出されるはずである。そして中国や日本のような遠く離れた人々の芸術が理解されるとき、われわれの調和の感覚が驚くほど同じであることがわかる。彼らの芸術がわれわれのものとは大きく異なる系譜の中で発展してきたという事実にもかかわらず、それでもなお、その目新しさへの驚きが薄れてそれを理解しはじめたときには、われわれはそれがわれわれの調和の感覚とひじょうによく一致していることを知るのである。 But apart from the feelings connected directly with the means of expression, there appears to be much in common between all the arts in their most profound expression; there seems to be a common centre in our inner life that they all appeal to. Possibly at this centre are the great primitive emotions common to all men. The religious group, the deep awe and reverence men feel when contemplating the great mystery of the Universe and their own littleness in the face of its vastness--the desire to correspond and develop relationship with the something outside themselves that is felt to be behind and through all things. Then there are those connected with the joy of life, the throbbing of the great life spirit, the gladness of being, the desire of the sexes; and also those connected with the sadness and mystery of death and decay, c. しかし表現方法と直接関係する感覚のほかにも、全ての芸術に共通するものは、彼らの最も深い表現の中に多く見られる。われわれの内的生活には、彼ら全てがそれに訴える共通の核心があるように思われる。おそらく、この核心にあるものは、全ての人間に共通する偉大で原始的な感情だろう。宗教家たちは、大いなる宇宙の神秘とその広大に対する己の卑小さについて人間が熟考したときに感じる深い畏怖と尊敬の念――彼らの外部にあり、あらゆるものを通してその存在を感じられるあの何ものかと通じて関係を深めたいという欲求――を集合させる。そしてこれらを、生の楽しみ、偉大な魂の鼓動、生きることの喜び、性への欲望、また死や衰えの悲しみと神秘といったことと結びつける。 The technical side of an art is, however, not concerned with these deeper motives but with the things of sense through which they find expression; in the case of painting, the visible universe. しかし、芸術の技術的な側面は、これら深遠なモチーフとではなく、彼らが表現を見つける感覚についてのことがらと関係がある。絵画の場合、それは視覚の宇宙である。 The artist is capable of being stimulated to artistic expression by all things seen, no matter what; to him nothing comes amiss. Great pictures have been made of beautiful people in beautiful clothes and of squalid people in ugly clothes, of beautiful architectural buildings and the ugly hovels of the poor. And the same painter who painted the Alps painted the Great Western Railway. 芸術家は見たものすべてから芸術表現への刺激を受けることができる。たとえどんなものでも、彼にとって不都合なものはない。偉大な絵画は、美しい服装の美しい人々と、醜い服を着た汚い人々、そして美しい建築と、貧民の掘っ立て小屋から作られる。そしてアルプスを描いたその同じ画家が、グレート・ウェスタン鉄道を描くのである。［訳者注：ターナーおじさんのこと］ The visible world is to the artist, as it were, a wonderful garment, at times revealing to him the Beyond, the Inner Truth there is in all things. He has a consciousness of some correspondence with something the other side of visible things and dimly felt through them, a still, small voice which he is impelled to interpret to man. It is the expression of this all-pervading inner significance that I think we recognise as beauty, and that prompted Keats to say Beauty is truth, truth beauty. 目に見える世界は芸術家のものであり、いわばすばらしい衣服である。それはときどき彼に、すべてに内在する内なる真実の向こうを見せてくれる。彼は視角の向こう側にあるものと通じているという意識を持ち、誰かに説明したくなるような「静かで、小さな声」を通してそれをかすかに感じる。このすべてに広がる内的な意味の表現こそが、われわれが美として認識し、ジョン・キーツにかのように言わしめたものである。 「美は真であり、真は美である」 And hence it is that the love of truth and the love of beauty can exist together in the work of the artist. The search for this inner truth is the search for beauty. People whose vision does not penetrate beyond the narrow limits of the commonplace, and to whom a cabbage is but a vulgar vegetable, are surprised if they see a beautiful picture painted of one, and say that the artist has idealised it, meaning that he has consciously altered its appearance on some idealistic formula; whereas he has probably only honestly given expression to a truer, deeper vision than they had been aware of. The commonplace is not the true, but only the shallow, view of things. それゆえ真と美への愛は芸術家の作品の中でともに存在できることになる。この内的な真理の探究が美の探究である。凡庸さの狭い限界を超えた認識をする視点を持たない人々（彼らにとってキャベツは庶民の野菜でしかないのだが）は、芸術家の描いた美しい絵を見て驚き、そしてこう言うのである。この芸術家はそれを理想化した、つまり彼はその外観をある理想的な様式に意識的に変化させたのだと。しかし彼はおそらく、彼らがすでに気づいていたある真なる深遠なビジョンに対して誠実に表現を与えただけだろう。平凡さは真実ではなく、単にものの見方の浅薄さにすぎない。 [Illustration Plate II. DRAWING BY LEONARDO DA VINCI FROM THE ROYAL COLLECTION AT WINDSOR _Copyright photo, Braun Co._] Fromentin s Art is the expression of the invisible by means of the visible expresses the same idea, and it is this that gives to art its high place among the works of man. Beautiful things seem to put us in correspondence with a world the harmonies of which are more perfect, and bring a deeper peace than this imperfect life seems capable of yielding of itself. Our moments of peace are, I think, always associated with some form of beauty, of this spark of harmony within corresponding with some infinite source without. Like a mariner s compass, we are restless until we find repose in this one direction. In moments of beauty (for beauty is, strictly speaking, a state of mind rather than an attribute of certain objects, although certain things have the power of inducing it more than others) we seem to get a glimpse of this deeper truth behind the things of sense. And who can say but that this sense, dull enough in most of us, is not an echo of a greater harmony existing somewhere the other side of things, that we dimly feel through them, evasive though it is. But we must tread lightly in these rarefied regions and get on to more practical concerns. By finding and emphasising in his work those elements in visual appearances that express these profounder things, the painter is enabled to stimulate the perception of them in others. In the representation of a fine mountain, for instance, there are, besides all its rhythmic beauty of form and colour, associations touching deeper chords in our natures--associations connected with its size, age, and permanence, c.; at any rate we have more feelings than form and colour of themselves are capable of arousing. And these things must be felt by the painter, and his picture painted under the influence of these feelings, if he is instinctively to select those elements of form and colour that convey them. Such deeper feelings are far too intimately associated even with the finer beauties of mere form and colour for the painter to be able to neglect them; no amount of technical knowledge will take the place of feeling, or direct the painter so surely in his selection of what is fine. There are those who would say, This is all very well, but the painter s concern is with form and colour and paint, and nothing else. If he paints the mountain faithfully from that point of view, it will suggest all these other associations to those who want them. And others who would say that the form and colour of appearances are only to be used as a language to give expression to the feelings common to all men. Art for art s sake and Art for subject s sake. There are these two extreme positions to consider, and it will depend on the individual on which side his work lies. His interest will be more on the aesthetic side, in the feelings directly concerned with form and colour; or on the side of the mental associations connected with appearances, according to his temperament. But neither position can neglect the other without fatal loss. The picture of form and colour will never be able to escape the associations connected with visual things, neither will the picture all for subject be able to get away from its form and colour. And it is wrong to say If he paints the mountain faithfully from the form and colour point of view it will suggest all those other associations to those who want them, unless, as is possible with a simple-minded painter, he be unconsciously moved by deeper feelings, and impelled to select the significant things while only conscious of his paint. But the chances are that his picture will convey the things he was thinking about, and, in consequence, instead of impressing us with the grandeur of the mountain, will say something very like See what a clever painter I am! Unless the artist has painted his picture under the influence of the deeper feelings the scene was capable of producing, it is not likely anybody will be so impressed when they look at his work. And the painter deeply moved with high ideals as to subject matter, who neglects the form and colour through which he is expressing them, will find that his work has failed to be convincing. The immaterial can only be expressed through the material in art, and the painted symbols of the picture must be very perfect if subtle and elusive meanings are to be conveyed. If he cannot paint the commonplace aspect of our mountain, how can he expect to paint any expression of the deeper things in it? The fact is, both positions are incomplete. In all good art the matter expressed and the manner of its expression are so intimate as to have become one. The deeper associations connected with the mountain are only matters for art in so far as they affect its appearance and take shape as form and colour in the mind of the artist, informing the whole process of the painting, even to the brush strokes. As in a good poem, it is impossible to consider the poetic idea apart from the words that express it they are fired together at its creation. Now an expression by means of one of our different sense perceptions does not constitute art, or the boy shouting at the top of his voice, giving expression to his delight in life but making a horrible noise, would be an artist. If his expression is to be adequate to convey his feeling to others, there must be some arrangement. The expression must be ordered, rhythmic, or whatever word most fitly conveys the idea of those powers, conscious or unconscious, that select and arrange the sensuous material of art, so as to make the most telling impression, by bringing it into relation with our innate sense of harmony. If we can find a rough definition that will include all the arts, it will help us to see in what direction lie those things in painting that make it an art. The not uncommon idea, that painting is the production by means of colours of more or less perfect representations of natural objects will not do. And it is devoutly to be hoped that science will perfect a method of colour photography finally to dispel this illusion. What, then, will serve as a working definition? There must be something about feeling, the expression of that individuality the secret of which everyone carries in himself; the expression of that ego that perceives and is moved by the phenomena of life around us. And, on the other hand, something about the ordering of its expression. But who knows of words that can convey a just idea of such subtle matter? If one says Art is the rhythmic expression of Life, or emotional consciousness, or feeling, all are inadequate. Perhaps the rhythmic expression of life would be the more perfect definition. But the word life is so much more associated with eating and drinking in the popular mind, than with the spirit or force or whatever you care to call it, that exists behind consciousness and is the animating factor of our whole being, that it will hardly serve a useful purpose. So that, perhaps, for a rough, practical definition that will at least point away from the mechanical performances that so often pass for art, #the Rhythmic expression of Feeling# will do for by Rhythm is meant that ordering of the materials of art (form and colour, in the case of painting) so as to bring them into relationship with our innate sense of harmony which gives them their expressive power. Without this relationship we have no direct means of making the sensuous material of art awaken an answering echo in others. The boy shouting at the top of his voice, making a horrible noise, was not an artist because his expression was inadequate--was not related to the underlying sense of harmony that would have given it expressive power. [Illustration Plate III. STUDY FOR APRIL In red chalk on toned paper.] Let us test this definition with some simple cases. Here is a savage, shouting and flinging his arms and legs about in wild delight; he is not an artist, although he may be moved by life and feeling. But let this shouting be done on some ordered plan, to a rhythm expressive of joy and delight, and his leg and arm movements governed by it also, and he has become an artist, and singing and dancing (possibly the oldest of the arts) will result. Or take the case of one who has been deeply moved by something he has seen, say a man killed by a wild beast, which he wishes to tell his friends. If he just explains the facts as he saw them, making no effort to order his words so as to make the most telling impression upon his hearers and convey to them something of the feelings that are stirring in him, if he merely does this, he is not an artist, although the recital of such a terrible incident may be moving. But the moment he arranges his words so as to convey in a telling manner not only the plain facts, but the horrible feelings he experienced at the sight, he has become an artist. And if he further orders his words to a rhythmic beat, a beat in sympathy with his subject, he has become still more artistic, and a primitive form of poetry will result. Or in building a hut, so long as a man is interested solely in the utilitarian side of the matter, as are so many builders to-day, and just puts up walls as he needs protection from wild beasts, and a roof to keep out the rain, he is not yet an artist. But the moment he begins to consider his work with some feeling, and arranges the relative sizes of his walls and roof so that they answer to some sense he has for beautiful proportion, he has become an artist, and his hut has some architectural pretensions. Now if his hut is of wood, and he paints it to protect it from the elements, nothing necessarily artistic has been done. But if he selects colours that give him pleasure in their arrangement, and if the forms his colour masses assume are designed with some personal feeling, he has invented a primitive form of decoration. And likewise the savage who, wishing to illustrate his description of a strange animal he has seen, takes a piece of burnt wood and draws on the wall his idea of what it looked like, a sort of catalogue of its appearance in its details, he is not necessarily an artist. It is only when he draws under the influence of some feeling, of some pleasure he felt in the appearance of the animal, that he becomes an artist. Of course in each case it is assumed that the men have the power to be moved by these things, and whether they are good or poor artists will depend on the quality of their feeling and the fitness of its expression. [Illustration Plate IV. STUDY ON TISSUE-PAPER IN RED CHALK FOR FIGURE OF BOREAS] The purest form of this rhythmic expression of feeling is music. And as Walter Pater shows us in his essay on The School of Giorgione, music is the type of art. The others are more artistic as they approach its conditions. Poetry, the most musical form of literature, is its most artistic form. And in the greatest pictures form, colour, and idea are united to thrill us with harmonies analogous to music. The painter expresses his feelings through the representation of the visible world of Nature, and through the representation of those combinations of form and colour inspired in his imagination, that were all originally derived from visible nature. If he fails from lack of skill to make his representation convincing to reasonable people, no matter how sublime has been his artistic intention, he will probably have landed in the ridiculous. And yet, #so great is the power of direction exercised by the emotions on the artist that it is seldom his work fails to convey something, when genuine feeling has been the motive#. On the other hand, the painter with no artistic impulse who makes a laboriously commonplace picture of some ordinary or pretentious subject, has equally failed as an artist, however much the skilfulness of his representations may gain him reputation with the unthinking. The study, therefore, of the #representation of visible nature# and of #the powers of expression possessed by form and colour# is the object of the painter s training. And a command over this power of representation and expression is absolutely necessary if he is to be capable of doing anything worthy of his art. This is all in art that one can attempt to teach. The emotional side is beyond the scope of teaching. You cannot teach people how to feel. All you can do is to surround them with the conditions calculated to stimulate any natural feeling they may possess. And this is done by familiarising students with the best works of art and nature. * * * * * It is surprising how few art students have any idea of what it is that constitutes art. They are impelled, it is to be assumed, by a natural desire to express themselves by painting, and, if their intuitive ability is strong enough, it perhaps matters little whether they know or not. But to the larger number who are not so violently impelled, it is highly essential that they have some better idea of art than that it consists in setting down your canvas before nature and copying it. 芸術を構成するものについて理解している美術学生の少なさは、おどろくべきことである。彼らはおそらく、絵画によって彼ら自身を表現したいという自然な欲求によって駆り立てられている。もし彼らの直観的な能力が十分に強いのであれば、彼らが知っているどうかはたいした問題ではないだろう。しかしそこまで暴力的に駆り立てられない多くの学生にとって、芸術についてよりよく理解することは、自然の前にキャンバスを据えてそれを模写することよりも、ひじょうに重要で不可欠なことである。 Inadequate as this imperfect treatment of a profoundly interesting subject is, it may serve to give some idea of the point of view from which the following pages are written, and if it also serves to disturb the copying theory in the minds of any students and encourages them to make further inquiry, it will have served a useful purpose. 大いに興味深い主題についてこのような不完全な論じ方をするのは不適当であるが、以降の論述がもとづく視点の考え方を示すことにはなるだろう。そしてまた、学生の心に浮かぶ「模写説」を防ぎ、彼らをさらなる探究へ促すことにもなったのならば、役立つ目的は果たしたことになる。
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Technics and Praxis (Synthese Library, Volume 130) Kluwer Academic Pub? Don Ihde? KluwerAcademicPub? DonIhde? ジャンル別? Substores-UnknownASINs-55? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Philosophy-Science? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference The Deep Mixing Method Principle, Design, and Construction Aa Balkema? Coastal Development Institute of Technology? AaBalkema? CoastalDevelopmentInstituteofTechnology? ジャンル別? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-55? Subjects-Engineering-Civil-General? Subjects-Professional&Technical-Engineering-Civil-General? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-SoilScience? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-AgriculturalSciences-SoilScience? 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【Tags D Machigerita-P Miku tD H】 Original Music title 崩壊歌姫 -disruptive diva- English music title Disruptive Diva -disruptive diva- Romaji music title Houkai Uta Hime -disruptive diva- Music Lyrics written, Voice edition by マチゲリータP (Machigerita-P) Music arranged by マチゲリータP (Machigerita-P) Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by nori46)： The absolute sanctuary area which was built is mother who is still dark and closed It s a miniature garden of Cocytus where the warmth and the light of the sun cannot even reach This memory is a fake that is made-up The world of data which was transferred through a plug Where has the queen, the Ultimate Weapon that was molded by the hands of taboo, gone? The mental signal, the emotion that flows in, changes everything It rebuilt her by making her revolute to a princess,"the Ultimate Weapon -type 2- that can perpetuate destruction With the power of mine, who cannot even touch you The second hand of the clock start to move again little by little The more she hates, stronger the rosary of the eye socket gets She doesn t even know the meaning of the engraved mark ［Di-Va］by being burnt In the static-ridden brain circuit Someone starts to whisper After telling a bunch of salvific words He said "There s no hope of salvation" Is there any meanings to destroy? Without being able to do anything, the horizon is just decaying The light flows in the sea of the collapsed moon "Though it s so a beautiful world." The color of the flowing tears turn black The world everything changed recites the prelude of collapse It returns to a world where emptiness and despair bloom Even if it vanishes and turns to ashes by being burnt by the hell fire. Romaji lyrics (transliterated by nori46)： kouchikusareta eria wa kuraku tozasareta mama de taiyou no nukumori sae mo todokanai, kokyutosu no hakoniwa kono kioku wa tsukurareta feiku puragu de okurareta sekai kinki no te ni yori umidasareta joou-sama wa doko e kieta? nagarekomu kanjou wa subete wo kaete hakai wo umidasu dake no "o-hime-sama" e to shinkasuru anata sura furerarenu watashi no chikarade, tomatta tokei no byoushin wa mata sukoshi zutsu ugokidasu. nikumeba nikumu hodo tsuyokunaru ganka no rozario yakitsukerareta kokuin no imi sura mo wakarazu noizu majiri no atama no naka de dareka ga sasayaki hajimeru kyuusai no kotoba wo narabetate "sukui wa nainda" to itta kowasu koto ni imi wa aru no darou ka tada nani mo dekizu kuchiyuku chihei kuzureta tsuki no umi ni hikari wo nagasu "kon na nimo kireina sekai nanoni." afuredasu namida no iro wa kuroku somari subete wo kaeta sekai wa houkai eno jokyoku wo utau kyomu to zetsubou no saita sekai e to kaesu rengoku no honoo ni yakarete kiete, hai ni narou tomo. [Machigerita-P, MachigeriitaP, MachigeritaP, Machigeriita-P]
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bioハザード2 chúnfēng @wgt0715 center of Tokyo I am a Japanese. My background are computer, ancient history, world history, arts, Confucianism, geological science, poesty. thx. http //ameblo.jp/jdotsystem/ 2011年3月29日のJUNLeaks 言語不明、意味不明 Tutto il terremoto è accaduto dall essere umano. Be sia preparato! Il Armageddon sta venendo presto!! #stopnuclear 14分前 web から Все из землетрясения случены человеком. Подготовьте! Армаагедон придет скоро!! #stopnuclear 15分前 web から 지진 전부는 인간에 의해 일어난다. 준비되십시오! 아마겟돈은 빨리 오고 있다!! #stopnuclear 15分前 web から Todos os terremotos são aconteceu por humanos. Esteja preparado! Armagedon está chegando! #Stopnuclear 19分前 web から Alle von Erdbeben durch menschliche passiert. Seien Sie vorbereitet! Armageddon kommt bald! #Stopnuclear 20分前 web から Tutti i terremoti sono capitato per umani. Siate pronti! Armageddon è in arrivo! #Stopnuclear 20分前 web から Tous les tremblements de terre sont des événements par l homme. Soyez prêt! Armageddon est à venir bientôt! # Stopnuclear 21分前 web から Todos los terremotos son sucedidos por el ser humano. ¡Prepárese! ¡El Armageddon está viniendo pronto!! #stopnuclear 22分前 web から All of earthquake are happened by human. Be prepared! Armageddon is coming soon!! #stopnuclear (bot) 2分前 web から OK, go to next step!! 1時間前 web から it is better to write won coding than using layout tempate system...we can include all of template fies. 1時間前 web から Yes! completed!! 2時間前 web から OMG! it s my fault! category id is not single data, just array...um... 3時間前 web から So, let s modify category block for in this case..^^; 20分前 web から I see. customized blocks saved in DB. I should convert table of DB for completed this matter... OK, I have no time to consider and modify DB 21分前 web から someone completed this matter. he created new category class after copied original one. and modified it. but I won t do it. 35分前 web から customized blocks are assinged in one of sub view class, I think. But I don t find it yet... 39分前 web から oops, object sub view is created in each sub view class. 41分前 web から object sub view class created in each sub class. I understood this structuer. but it is not easy...um... 42分前 web から um... category class has block class as super class, not list class...um..pazled... 47分前 web から Aha, category id is not assigned in other themplate files, I see. I should consider how to use the id in list.tpl...um.. 50分前 web から Dilo fuerte y Claro #NOANUCLEAR !! - http //twb.ly/gWPJC5 - Agrégalo a tu perfil y apoya energías limpias para Chile a tiempo! 3時間前 Twibbon から Support Nuclear Power - no thanks!, add a #twibbon now! - http //twb.ly/eziYGr - Create one here - http //twb.ly/f02AU3 3時間前 Twibbon から Support Nuclear power? No Thanks!, add a #twibbon now! - http //twb.ly/g6oYta - Create one here - http //twb.ly/f02AU3 3時間前 Twibbon から
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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.
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CheckIO Scientific Expeditionの問題和訳 問題ページのうち, 問題の前提となる小話は訳してません. また各問題ページ下部にある「Precondition」は「前提条件」のため訳しません(数値の範囲などだけなので). Transposed Matrix Weekend counter The Angles of a Triangle Loading Cargo Spaceship landing strip Friendly number The square chest Morse Clock Ore In The Desert Calculate Islands Digging a canal Transposed Matrix Transpose a matrix of 2D numbers. In linear algebra, the transpose of a matrix A is another matrix A^T (also written A′, A^tr, tA or A^t) created by any one of the following equivalent actions reflect A over its main diagonal (which runs from top-left to bottom-right) to obtain A^T write the rows of A as the columns of A^T write the columns of A as the rows of A^T Formally, the i-th row, j-th column element of A^T is the j-th row, i-th column element of A [A^T]_ij = [A]_ji If A is an m × n matrix then A^T is an n × m matrix. You have been given a matrix as a 2D list with integers. Your task is to return a transposed matrix based on input. Input A matrix as a list of lists with integers. Output The transposed matrix as a list of lists with integers. How it is used The most obvious use for this idea is in mathematical software, but the concept can be applied in the area of vector graphics. On a computer, one can often avoid explicitly transposing a matrix in memory by simply accessing the same data in a different order. 訳 線形代数では, 行列Aの転置を行列A^T(A , A^tr, tAやA^tとも書かれる)と呼ぶ. 転置行列は以下のアクションにより求められる. Aの対角線で要素を入れ替えると転置行列A^Tが得られる. Aの列はA^Tの行になる. 形式的に, A^Tのi行j列の要素は, Aのj行i列目の要素となる. [A^T]_ij = [A]_ji m×n行列Aはn×m行列A^Tになる. あなたには整数の2次元リストが行列として与えられる. 入力の行列を転置した行列を返す. 入力 リストのリストとしての行列 出力 転置行列, リストのリストとして 備考 数学的ソフトウェアではこのアイデアは明らかに使われるが, コンセプトはベクタグラフィックスの面積で応用される. コンピュータでは, 異なる順序で同じデータにアクセスすることで, しばしば転置行列の使用を避けている. Weekend counter Help Sofia with planning her weekends. Sofia has given you a schedule and two dates and told you she needs help planning her weekends. She has asked you to count each day of rest (Saturday and Sunday) starting from the initial date to final date. You should count the initial and final dates if they fall on a Saturday or Sunday. The dates are given as datetime.date (Read about this module here). The result is an integer. Input Start and end date as datetime.date. Output The quantity of the rest days as an integer. How it is used Now is a good time to learn how to work with dates. These ideas here often come up in calendar apps, customer relation management software, automated messaging schedulers among many other things. 訳 ソフィアはあなたにスケジュールと2つの日にちを与え, あなたに彼女の週末の計画を手伝うことを伝えた. 彼女はある日から別の日までの休日(土曜日と日曜日)の回数を数えたいとあなたに聞いた. あなたは2つの日にちの間にある土曜日と日曜日を数える. 日にちはdatetime.dateとして与えられる. 結果は整数で返す. 入力 開始日と終了日をdatetime.dateとして. 出力 期間の間の休日の数を整数で. 備考 日にちの扱い方を学ぶことができる. これらのアイデアはカレンダーアプリ, 顧客管理ソフトや, スケジュールの自動設定ソフトなどでしばしば出てくる. The Angles of a Triangle Discover the angles of a triangle. You are given the lengths for each side on a triangle. You need to find all three angles for this triangle. If the given side lengths cannot form a triangle (or form a degenerated triangle), then you must return all angles as 0 (zero). The angles should be represented as a list of integers in ascending order. Each angle is measured in degrees and rounded to the nearest integer number (Standard mathematical rounding). Input The lengths of the sides of a triangle as integers. Output Angles of a triangle in degrees as sorted list of integers. How it is used This is a classical geometric task. The ideas can be useful in topography and architecture. With this concept you can measure an angle without the need for a protractor. 訳 あなたには三角形の3つの辺の長さが与えられる. あなたはこの三角形の3つの角度を全て求める. もし与えられた辺から三角形を作れないなら, あなたは全ての角度を0として返す. 角度は整数のリストとして, 昇順にしたものとして表現される. それぞれの角度は最も近い整数に丸める. 入力 三角形の三辺長さ 出力 三角形の3つの角度, 昇順にソートしたリストで 備考 これは古典的な幾何学の問題である. このアイデアはトポロジーや建築学で使われる. この問題のコンセプトはあなたに分度器を使わせることなく角度を計算させる方法を教えることである. Loading Cargo Help Stephen evenly distribute weights into two sets. You have been given a list of integer weights. You should help Stephen distribute these weights into two sets, such that the difference between the total weight of each set is as low as possible. Input data A list of the weights as a list of integers. Output data The number representing the lowest possible weight difference as a positive integer. Hints The simplest way (but it s slow) is to check all combinations of distributions. Python already has the tools for combinatorics — import itertools. Do you want an effective algorithm? Take a look at Partition problems. How it is used This is a combinatorial optimization version of the partition problem. The combinatorial optimization has wide usage and you often see it when you look at automated schedules or route calculating. 訳 あなたには重さを表す整数のリストが与えられる. あなたはステファンの2つの重さの差が可能な限り小さくなるように分配を手助けする. 入力 重さのリスト 出力 2つの重さ最小の差 ヒント 最も単純な方法(しかし遅い)は全ての組み合わせをチェックすることだ. Pythonは既に組み合わせのためのツールを持っている, import itertoolsだ. 効率的なアルゴリズムを知りたい? 分割問題を見るべきだ. 備考 これは分割問題の組み合わせ最適化版である. 組み合わせ最適化は幅広く使われ, あなたはしばしば自動スケジューラやルート計算で見かける. Spaceship landing strip Carve a landing strip out of the ground for the rescue party to land on… The Robots have discovered a new island and accidentally crashed on it. To survive, they need to create the largest rectangular field possible to make a landing strip. While surveying the land, they encountered a number of obstacles which they marked on their map. Each square of the map is marked according to whether it contains grass (G), rock (R), water (W), shrubs (S), or trees (T). While the grass can be mowed and the shrubs can be dug from the ground, the water, rocks, and trees cannot be removed with the tools at their disposal. Given these obstacles, they need your help to determine the area of the largest possible rectangular field. The island map is represented as a list of strings. Each list contains letter characters which indicate the conditions for each square of land (G, R, W, S, or T). The map is rectangular. Input An island map as a list of strings. Output The maximum area of the largest possible rectangle that can be cleared as an integer. How it is used This concept touches on image and pattern recognition. If you solve the challenge with a Histogram search, you can use it for statistical analysis. 訳 ロボットは新しい島を発見したが, アクシデントが起こって壊れてしまった. 生き残るために, 彼らは着陸可能な大きい四角形のフィールドを作る必要がある. 島で生活する間, 彼らは地図に遭遇した障害物をマークした. 地図のそれぞれのセルは草(G), 岩(R), 水(W), 低木(S), 木(T)でマークされている. 草と低木は地上から掘ることで動かすことができるが, 水, 岩, 木を取り除く道具はない. あなたは与えられた障害の中から, 最も大きな四角形のフィールドを探す手助けをする. 島のマップは文字列のリストとして表現される. それぞれのリストは島の条件を示す(G, R, W, S, T)のセルからなる. マップは四角形である. 入力 文字列のリストとして島のマップ 出力 作成可能な最大の四角形の面積, 整数 備考 このコンセプトは画像とパターンの認識に触れることである. あなたがヒストグラム探索に挑戦したとしたら, あなたはそれを統計分析に使うことができる. Friendly number Make a long number friendlier by shortening it. Long numbers can be made to look nicer, so let’s write some code to do just that. You should write a function for converting a number using several rules. For starters, you will need to cut the number with a given base (base argument; default 1000). The number should be a coefficient with letters designating the power. The coefficient is a real number with decimal after the point (decimals argument; default 0). You will be given a list of power designations (powers argument; default [ , k , M , G , T , P , E , Z , Y ]). If you are given suffix (suffix argument; default ‘’) , then you must be add it at the end. For the coefficient, use the rounding down rule (5.6⇒5, -5.6⇒-5) if the decimal = 0, else use the standard rounding procedure. If you don’t have enough powers - stay at the maximum. If the number of decimals are greater than the real number of digits after dot, trail it with zeroes. And zero is always zero without powers. Let s look at examples. It will be simpler. n=102 result "102", the base is default 1000 and 102 is lower this base. n=10240 result "10k", the base is default 1000 and rounding down. n=12341234, decimals=1 result "12.3M", one digit after the dot. n=12000000, decimals=3 result "12.000M", trailing zeros. n=12461, decimals=1 result "12.5k", standard rounding. n=1024000000, base=1024, suffix= iB result 976MiB , the different base and the suffix. n=-150, base=100, powers=[ , d , D ] result -1d , the negative number and rounding down. n=-155, base=100, decimals=1, powers=[ , d , D ] result -1.6d , the negative number and standard rounding. n=255000000000, powers=[ , k , M ] result 255000M , there is not enough powers. Input A number as an integer. The keyword argument "base" as an integer, default 1000. The keyword argument "decimals" as an integer, default 0. The keyword argument "powers" as a list of string, default [ , k , M , G , T , P , E , Z , Y ]. Output The converted number as a string. How it is used In the physics and IT we have a lot of various numbers. Sometimes we need to make them more simpler and easier to read. When you talk about gigabytes sometimes you don’t need to know the exact number bytes or kilobytes. 訳 大きな数は他によい見せ方があり, それをするためだけにいくつかのコードを書こう. あなたはいくつかのルールに従った数の変換の関数を書く. はじめに, あなたは与えられた基底(引数となる, デフォルトは1000)を使って数字をカットする必要がある. 数値は係数とべきを示す文字であらわされる. 係数は小数点第n位(引数で指定, デフォルトは0)の実数である. あなたにはべきを示す文字(べきの引数, デフォルトは[ , k , M , G , T , P , E , Z , Y ])のリストが与えられる. もし接尾辞が与えられたら(接尾辞も引数, デフォルトは ), あなたはそれを末尾に加える. 引数decimal=0なら係数には下丸め(5.6= 5, -5.6= -5)が適用され, それ以外は通常の丸めが適用される. もし十分なべきがないなら, 最大のべきで表現する. ドットのあとの桁の実数が指定した桁(decimal)より長いなら, 0で埋める. また0は常にべきなしの0である. 例を見てみよう. シンプルなものだ. n=102 結果は"102", 基底は1000で, 102は基底より小さい. n=10240 結果は"10k", 基底は1000で, 下丸めした. n=12341234, decimals=1 結果は"12.3M", 小数点以下第1位まで. n=12000000, decimals=3 結果は"12.000M", 0で埋める. n=12461, decimals=1 結果は"12.5k", 標準的な丸め. n=1024000000, base=1024, suffix= iB 結果は 976MiB , 異なる基底と接尾辞の追加. n=-150, base=100, powers[ , d , D ] 結果は -1d , 負の数と下丸め. n=-155, base=100, decimals=1, powers[ , d , D ] 結果は -1.6d , 負の数と標準的な丸め. n=255000000000, powers=[ , k , M ] 結果は 255000M , 十分なべきではない. 入力 整数として数値. 引数に基底, デフォルト1000. 引数にdecimal(小数点第n位), デフォルトは1000. 引数にべきリスト, デフォルトは[ , k , M , G , T , P , E , Z , Y ]. 出力 変換された数値を文字列として. 備考 物理やITにおいて私たちは様々なたくさんの数を扱う. 時々私たちは読みやすさのためによりシンプルな表記を必要とする. あなたがギガバイトについて話す時, あなたはきっちりしたバイトやキロバイトを必要としない. The square chest Count the number of squares which can be possibly drawn in a grid. On the chest keypad is a grid of numbered dots. The grid is comprised of a square shaped array of dots and contains lines that connect some pairs of adjacent dots. The answer to the code is the number of squares that are formed by these lines. For example, in the figure shown below, there are 3 squares 2 small squares and 1 medium square. The dots are marked by the numbers 1 through 16. The endpoints of the lines are represented by lists of two numbers. Input A list of lines as a list of list. Each list consists of the two integers. Output The quantity of squares formed as an integer. How it is used This is a simple puzzle that illustrates pattern searching. For complex cases you can improve your program and use it to search for more complex patterns, shapes and objects. 訳 数字が割り振られたドットのグリッドがある. グリッドは四角に配置されたドットと隣り合うドットのいくつかのペアとつながった線からなる. それらの線によって作られる四角形の数を求めるためのコードを書く. たとえば, 下の図を見ると, 3つの四角形, 2つの小さな四角形と1つの中型の四角形だ. ドットは1から16までの数値で割り振られている. 線の終端は2つの数字のリストで表現される. 入力 リストのリストとして線のリスト. それぞれのリストは2つの整数からなる. 出力 四角形の数を整数で 備考 これは画像パターン探索のシンプルなゲームだ. 複雑なケースのためにあなたはプログラムを改良することができ, それをより複雑なパターン, 形状や物, を探索するために使うだろう. Morse Clock Morse clock task Help Stephen to automate his task by creating a module. As you can see in above illustration, gray circle means on, and white circle means off. Every digit in the time string contains a different number of slots. The first digit for the hour has a length of 2 while the second digit for the hour has a length of 4. The first digits for the minute and second not have a length of 3 while the second digits for the minute and second have a length of 4. Every digit in the time is converted to binary representation. You will convert every on ( or 1 ) signal to dash ( - ) and every off ( or 0 ) signal to dot ( . ) Input An unspecific time string ( could be hh mm ss or h m s or hh m ss format, with no specific format ) Output A string of Morse symbol from binary representation with specific format "h h m m s s" where each digits represented as sequence of "." and "-" How it is used Here you can learn about binary numbers and how to format strings. 訳 ステファンの自動化タスクのためにモジュールを作る手助けをしよう. 上の図のように, 灰色の円はオンを意味し, 白の円はオフを意味する. 時間文字列の全ての桁はスロットの異なる数値を含む. 最初の桁は時の10の位で, 長さは2, 次の桁は時の1桁で, 長さは4. 分と秒の最初の桁は長さ3で, 次の桁の長さは4である. 時間のすべての桁はバイナリ表記に変換されている. あなたはそれぞれをオンならダッシュ(-), オフならドット(.)に変換する. 入力 時間を文字列で(hh mm ssかh m sかhh m ss形式) 出力 バイナリ表記のモールス信号の文字列, "h h m m s s"形式で ここでそれぞれの桁は"."と"-"として表現される. 備考 あなたはここで二進数と文字列のフォーマットについて学ぶ. Ore In The Desert Our spaceship’s sensors have registered an ore in the region. Help the robots probe the region for precious metals. During their adventure, the Robo-trio came across a desert, and the ships sensors have registered ore in the region. The desert has a size of 10x10 cells and can be represented as a 2D array. The ship has four probes which can be used to help us find the ore. At each step you will need to return the coordinates of a cell (as [row, column]) for the probe to travel to. If the cell contains ore, then you can finish; else the probe will give a distance to the location of the ore cell (it will be the Euclidean distance between cells centers). The perception of probe is not very good and it will give you a result rounded to the closest integer (1.41 ≈ 1; 2.83 ≈ 3). At each step you receive information from the previous probes as a list of list. Each list will be in the following format [row, column, distance]. At the beginning of the mission, you will only receive an empty list. Input Information of the previous probes as a list of lists. Output The coordinate of the next probe as a list of two integers. How it is used This task illustrates trilateration. Trilateration is the process of determining absolute or relative locations of points by measurement of distances, using the geometry of circles, spheres or triangles. In addition to being an interesting geometric problem, trilateration does have practical applications in surveying and navigation and is an important part of the equations making global positioning systems (GPS) possible. 訳 彼らの冒険の間, ロボトリオは砂漠を横切っていて, 領域内の鉱石を船のセンサーに登録していた. 砂漠は10x10サイズのセルで, 二次元の配列として表現される. 船は4つの私たちに鉱石を探させるために使われる探り針を持っている. それぞれのステップでそこに行くために, あなたは探し針のためにセルの座標を返す必要がある. セルが鉱石を含んでいたら, あなたは終了させることができる. 含んでいないなら探り針は鉱石セルの位置までの距離を与える(セルの中心同士のユークリッド距離). 探り針の認識はとてもよいわけではなく, それはあなたに丸めた近い整数を与える(1.41なら1, 2.83なら3). それぞれのステップであなたは前の探り針からリストのリストとして情報を受け取る. それぞれのリストは[行, 列, 距離]というフォーマットである. ミッションのはじめに, あなたは空のリストを受け取る. 入力 前の探り針の情報をリストのリストとして 出力 次の探り針の座標を2つの整数のリストで 備考 このタスクは三角測量の説明である. 三角測量は円か球体か三角の幾何学を用いて, 距離を測量することによって点の絶対または相対的位置を決定するためのプロセスである. Calculate Islands Help the robots calculate the landmass of their newly discovered island chain. The Robots have found a chain of islands in the middle of the Ocean. They would like to explore these islands and have asked for your help calculating the areas of each island. They have given you a map of the territory. The map is a 2D array, where 0 is water, 1 is land. An island is a group of land cells surround by water. Cells are connected by their edges and corners. You should calculate the areas for each of the islands and return a list of sizes (quantity of cells) in ascending order. All of the cells outside the map are considered to be water. Input A map as a list of lists with 1 or 0. Output The sizes of island as a list of integers. How it is used This task is an example of a disjoint-set data structure. Disjoint-set data structures model the partitioning of a set; for example, it helps with keeping track of the connected components in an undirected graph (networks). 訳 ロボットは海の中央にある島の連鎖を見つけた. 彼らはこれらの島を発見したいのと, それぞれの島の面積を計算する手助けをあなたに聞いた. 彼らはあなたにテリトリーのマップを与える. マップは二次元の配列で, 0は水, 1は島である. 水に囲まれたセルが島のグループである. セルは端か角でつながる. あなたは島々の面積を計算し, 昇順にソートしたリストを返す. マップの外側は水とする. 入力 1か0で構成されるリストのリスト 出力 島のサイズを整数のリストで 備考 このタスクは素集合データ構造の例である. 素集合データ構造モデルは集合の分割, たとえば無向グラフ(ネットワーク)における要素の接続の経路を維持するのを助ける. Digging a canal Help the robots begin their colonization of the newly discovered island. The robots are trying to colonize a new island. There are many rivers on this island and it would be good idea for them to use ships designed for water, rather than their spaceships. Some of the territories do not have a river for transportation from one edge of a field to another. The robots can dig a canal and convert the land to water if need be. We must explore a field map and count the minimum number of cells necessary for a canal that would allow the robots to sail from northern edge of the map to southern edge. The map is in a 2D array, where 0 is water, 1 is land. Cells are connected by their edges. Input A map as a list of lists with 1 or 0. Output The minimum number of cells necessary for a canal as an integer. How it is used This concept is a mix of graph-search and optimization problems. It can be useful in navigational software and for network optimization. 訳 ロボットは新しい島に入植を試みている. この島にはたくさん川があり, 宇宙船を使うよりも船を使うのに適した川がある. 地域の中のいくつかは, フィールドの端から他方に輸送するための川がない. ロボットは水路を掘ることができ, 必要なら陸地を水に変えることができる. 私たちはフィールドマップを探検し, ロボットがマップ北側からマップ南側まで船で通れるような水路に必要なセルの最小数を数えるべきだ. マップは2次元の配列で表され, 0は水, 1は島である. セルは各々の端でつながっている. 入力 1と0からなるリストのリストをマップとして 出力 水路に必要なセルの最小の数 備考 これはグラフ探索と最適化問題を組み合わせたものである. それはナビゲーションシステムやネットワーク最適化で使われる.
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【登録タグ Fixxxer P VOCALOID 初音ミク 曲】 作詞：Fixxxer 作曲：Fixxxer 編曲：Fixxxer 唄：初音ミク 歌詞 （ピアプロより転載） ため息混じりの退屈な毎日 終わることのない虚ろなこの日々 積み重ね続けた愚かな過ち 今でもこの身を焦がし続けている 抗う自由もここから奪われ 進むことも戻ることも出来ずに 飽くなき好奇とスリルの渇望 それでも求むなら (Don’t fear and deny it all!) 街中に溢れる ガラクタ人形共の 世迷い言に興味はないぜ Power of vice! 下らない馴れ合いに 身を浸しふやける前に ありのままの貌 隠さず晒せよ Power of vice! あらゆる全てはお前から始まり あらゆる全てはお前へと消え去る あらゆる全てはこの世の悪徳 それこそお前に相応しいもの あらゆる全てが輝き増すとき それは全てが失われるとき あらゆる全ては許されざるもの それでも望むなら (Don’t fear and shed the shell!) 幾度も迷うとき 信ずるは己の道 強がりでもいい笑ってみせろよ Power of vice! ふざけた行為も それが偽らざる姿 これっぽっちも 躊躇いはいらない Power of vice! 『 月に侵される太陽も 欠ける月も 全て抱いて進め 』 何処かを示し 闇を照らす道標 忘れるなかれ 孤独の咎人 Power of vice! 彼方への道は 何処へ向かうのか 忘れるなかれ 孤独の咎人 Power of vice! Don’t fear and deny it all，shed the shell，Power of vice! コメント 名前 コメント
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ウォーターラインシリーズ 戦艦 Megaton s crater was first settled by a large group of people who sought shelter in Vault 101, but were denied access because the residents of the vault were not allowed to leave or let anyone in as part of the vault s policy. Locked out of the vault, these settlers, led by Manya Vargas' father, constructed their homes using aircraft debris from a nearby air bus station. The station is no longer visible since all of its parts were used up as building materials for the town s construction. Megaton s construction was aided by the Children of the Atom, who worship the undetonated atomic bomb in the town center. The settlers left the bomb unmoved in exchange for their much needed help. 重巡洋艦 In February 2241, an expeditionary party of Vault 101, led by Anne Palmer and sent by the Overseer of the Vault, made contact with the residents of Megaton. Initially, the locals were cautious of the strangers before eventually accepting and welcoming them into their settlement. Palmer appointed two vault residents, Agnes Taylor and Lewis, as vault ambassadors to Megaton. A record of this expedition was archived in the Overseer s terminal in his office. That same year, a group of raiders attacked the town, resulting in the death of the 14 year old Colin Moriarty's father. After the raid, Moriarty inherited his father s wealth and his bar, Moriarty's Saloon. 軽巡洋艦= In 2277, a gang of raiders occupied the nearby Springvale elementary school, intending to tunnel from the school basement into Vault 101. A group, led by Boppo, staged a raid on Megaton, but the attack was foiled when Boppo was shot in the head and killed by the town s sheriff, Lucas Simms. The raiders did not leave the area, though, choosing to remain at the Springvale School, although their mining operation stopped when they opened a nest of giant ants. 駆逐艦 Template quotation The city of Megaton has been built in a steep-walled crater around an undetonated atomic bomb which rests in a small puddle of radioactive water at the bottom of the depression. This gives the city two roughly circular levels centered on the bomb. The main gate consists of two old aircraft wings and a jet engine which can be opened and closed to protect the only entrance/exit to the town. If you follow the entry path to the bottom of the depression the Megaton Clinic will be on your right and The Brass Lantern on your left. Just past the bomb to the right is the Church of the Children of Atom and past it to the left lies Mister Burke's house. Confessor Cromwell can usually be found here sermonizing from the puddle to random Megaton settlers. If you turn right when you first enter so that you are still on the lip of the crater, the path will take you past Lucas Simms' house, around the Water processing plant, down to Craterside Supply, then back up to the Men's restroom, Moriarty s Saloon and Billy Creel's house. Going down the ramp from there will take you around Nathan and Manya's house (a bus) and to the Women's restroom. Craterside Supply can also be easily reached by taking the ramp directly to the right of the Megaton Clinic. If you instead turn left at the upper lip, you ll find a locked house (which is rewarded to you by Lucas Simms if you deactivate the central atomic bomb), followed by Jericho's house. From there, going down will take you to Lucy West's house while going around to the left will get you to the end of the right hand path. The Megaton armory (very hard lock or with Lucas Simm s key) can be reached by going up the ramp and around the Church of the Children of Atom to the right or by going down the hill starting from the back door of Moriarty s Saloon. Inside the player will face a strong opponent, Deputy Steel, a unique Mister Gutsy. The common house can be reached by going around the Women s restroom to the right or by passing behind Moriarty s Saloon rather than going around the front past the entrance to the Men s restroom. Just look for the couch sitting outside. In front of the city, outside the walls, you ll find a caravan stop, Micky the water beggar, and Deputy Weld. Behind the city, near the south west corner is the hollowed-out rock. Megaton ruins If you revisit Megaton ruins after blowing it up in The Power of the Atom quest, Deputy Weld s head with an orange (or purple) eye will be nearby, sticking out of a pile of debris. He says, ironically, Welcome to Megaton. The bomb is perfectly safe. We promise. Please hold, in a garbled voice that sounds broken. The sky will be green, and, if you started the Wasteland Survival Guide quest, Moira Brown will survive as a ghoul and appear to tell you that she is relocating to Underworld. If you have not started the quest, Moira can still be found in Underworld.The Strength Bobblehead will be unobtainable if you detonate the bomb before retrieving it. The area around Megaton will contain higher levels of radiation the closer you get to the town s ruins. Buildings Template columns Inhabitants Template columns Notable loot Bobblehead - Strength inside Lucas Simms' house, on a desk in a bedroom on the second floor. Grognak the Barbarian and a Chinese officer's sword in Jericho's house, on the floor, between a teddy bear and a red pylon along the right wall. Nikola Tesla and You in your Megaton home after buying the Science Theme from Moira Brown. Lying, Congressional Style in your Megaton home when you buy the Love Machine Theme from Moira Brown. 4 pre-War books in Billy Creel s house (must be stolen). Stealth Boy, and the As Requested note in the hollowed-out rock located outside Megaton along its southern wall. Look for the rock with three small trees in a triangular pattern around it. 300-700 bottle caps in The Brass Lantern. A terminal (very easy) unlocks a floor safe which is otherwise locked (very hard). A rolling pin, a rather hard-to-find and mostly cosmetic weapon can be found in the water processing plant. Related quests {{columns|3| Following in His Footsteps Blood Ties Holy Water Template icon The Power of the Atom The Replicated Man The Wasteland Survival Guide 300 Pieces of Silver Church Donations Leo's Drug Habit Water Caravan Squabble Template icon Treatment Walter's Scrap Metal }} Notes This is likely the first settlement the Lone Wanderer will encounter. If you intend to obtain the Strength bobblehead, you must do so before blowing up the town in The Power of the Atom quest as the explosion will destroy Lucas Simms s house, rendering the bobblehead inaccessible. If you have very good Karma, a Megaton settler will approach you each day you are in Megaton (after around 8am) and give you a random item of loot, saying something like, I wish there were more people like you in the world. The gift can range from ammunition (around 10 to 20 of any standard type) to medical supplies (stimpaks, Rad-X, etc.) to packaged food. She will sprint from wherever she happens to be in town to reach you; occasionally this action will not be triggered, but finding and talking to her will produce the appropriate dialog. If you have very bad Karma, the same settler will approach you and mutter insults instead of giving you something. If you are wearing a Vault 101 jumpsuit when you enter Megaton for the first time, Lucas Simms and the other named settlers will comment on it during the initial greeting. This special greeting does not occur when wearing the Vault security, utility jumpsuits and Vault scientist coat. Megaton will occasionally be attacked by various enemies when you approach or leave it. These are usually one or two raiders or giant ants, but can be more dangerous enemies such as giant radscorpions. Usually, Deputy Weld can easily dispatch them, with the help of Stockholm and any merchant caravan that happened to be in front of Megaton when the fight happens. If you have completed The Waters of Life, an Enclave Vertiberd may drop off some Enclave Soldiers south of Megaton. If you look up during Megaton s daytime you will see a flock of birds circling the settlement. If you choose to blow up Megaton, the fast travel point will be renamed Megaton Ruins. If you travel to Megaton Ruins, an eerie green glow will surround the wreckage and will still be evident when you travel to places like Super-Duper Mart. You cannot enter Megaton after destroying it, and getting very close will result in a hefty dose of radiation. If you destroy Megaton you are likely to be encountered by Megaton refugees; they are hostile at first sight. The first time you come to Megaton the gate is closed but opens as you approach it. The gate never closes again after that. Even if you gain access to your own Megaton house, perform various tasks for the locals and spend a significant amount of time in Megaton, the settlers will still qualify you as an outsider if you approach conversations with them. In fact, nobody besides the Simms family and Moira comments on anything remotely related to the fact that you have a permanent house there. Megaton is an open environment, so you can fast travel into and out of town without going through the town gates. There are additional unused sniper towers seen on the inside perimeter of the town, although they cannot be seen from the outside and there is no visible way to enter them. It is possible to get to Stockholm by entering Lucas Simms house, going through the trapdoor on the second floor, jumping on the fence on the roof, running along the fence, getting on top of the plane, running along the left side of the plane, and making a jump at the perfect time to land on the city walls. From here, carefully walk along the edge until you get to his platform. Once up, you are able to talk to him, he will say he needs to keep his eyes open, and wonder how you got up there. Despite the fact that Manya tells the story of her father and others scavenging from an airport, and the buildings were claimed back by the waste, there is no evidence at all to a nearby airport; no runway or large area in the vicinity that seems reasonably in range, though she does mention that over time the wasteland merely took it back . The irradiated water source that the atomic bomb is sitting on can be very useful for the second part of the Wasteland Survival Guide (quest). The word Megaton means the TNT equivalent, explosive force of nuclear weapons or any other explosives. Appearances Megaton appears only in Fallout 3. Behind the scenes In Beneath The Planet of the Apes, a cult is featured worshiping an undetonated nuclear weapon after the modern world has been destroyed. A megaton is a unit used to measure the force of an explosion, equivalent to that of a million tons of TNT. In the Japanese version of Fallout 3, Burke is completely gone, and therefore, the quest to blow up Megaton has been completely removed due to its parallels to real historic events,Official Xbox Magazine referring to the atomic bombs that were dropped on Hiroshima and Nagasaki in 1945. Bugs Template Platforms After Broken Steel is installed, if you pick-up the note from your door, after completing quest Holy Water, the note will respawn every day. This can be very annoying, and it is recommended to achieve the note from a settler. Template Platforms Occasionally the player will be shot at by the settlers of Megaton upon first entering, which can be rather troublesome for a low level character. Template Platforms Rarely, after you fast travel to Megaton a Brotherhood soldier may appear in the entrance of the city, a few seconds later he will leave the city. Template Platforms A deathclaw may spawn inside the city and will killed everyone (Making looting typically easier). Oddly the deathclaw will be immune to damage and will not be hostile to the player. Template verify Template Platforms Sometimes after you blow up megaton Harden Simms will still be walking around the out-side of the ruins and if you speak to him, he ll talk to you like nothing has happened. Gallery References Template References Template Navbox Megaton Template Navbox locations FO3
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E1M2 Nuclear Plant 放射能プラント mapの拡大図 Walkthrough スタート地点(A)から見える右のドラム缶を通り過ぎ、真っ直ぐ 進むと左右にドアが2枚並んでいる、とりあえず右を開け階段を 登り切ると左手にredkeyが見える(B)ので、まずはgetしよう！！ そのまま元きた道をstart地点まで戻り、今度は左側に進む とredkeyで開くドアにぶち当たる。 redkeyにてドアをこじ開け、直進すると階段に出る。階段を 登ると放射性廃棄物の池の上に架かった橋に出る、コレを渡り 切りったところにリフトがあり(C)、リフトを降りるとそこは impやゾンビ兵が待ち受けている暗室となっている。 モンスター達を撃退後に降りてきたリフトの正面奥のスイッ チを押すと両脇のドアが開くので、そこをくぐり右側に進むと ゴールの部屋にたどり着く。(D) ゴール部屋のモンスターを倒し部屋の奥のリフトを降りると スイッチがあり起動させるとレベルクリアだ！！ その他のチェックPOINT 最初の部屋の中心にリフトがありショットガンが置いてある(o) Ultra-ViolenceおよびNightmare!でのPLAYの場合は、リフト の上のショットガンはimpによって守られてる。 最初の部屋の南西コーナーにリフトがあり、リフトを上がると box of bulletsおよびmedikitが置いてある棚(P)に届く。 redkeyで開くドアを進むと右側に通路があり、この通路をたど って行くと放射能廃棄物の毒沼によって囲まれたスイッチ(G) が付いている部屋にでる。 スイッチを押すと隠し扉(H)が開き、薄暗い迷路のような部屋に 通ずる。 この区域は特に100%のkillを目指すならば、多量の 弾薬やitemを含んでいたり、照明および複雑な平面図のため プレイヤーは苛立つであろう。 automapなど駆使し、モンスターのうめき声を頼りに位置を 確認したい。 放射性廃棄物の池の上に架かった橋の通路に続く階段の上、 西側(m)に奥まった壁があり、そこへ進むと 床が下がり小部屋に通ずる。（小部屋にはモンスターが！！） 小部屋を奥に進めば、窓を通してchainsaw (シークレット3) を見ることができる。 I m Too Young to DieおよびHey,Not Too Roughでの playの場合は、(C)のリフトを降りた右側にブルーアーマー がある。 シークレット 1.最初の部屋の中心の東側に隠し扉がある。 これは壁の色が 少し違うことで確認できる。 このドアを開けるとスイッチ、medikit、グリーンアーマー およびバックパックがある部屋(E)に入ることが出来る 2.シークレット#1のスイッチはredkeyの塔つながる北のステップ のドア(F)を開ける。 このドア(f)をくぐると屋外に出ることが出来る。 屋外にはsoul sphereおよびchaingunがある。 （Ultra-ViolenceおよびNightmare!でのPLAYの場合は、 ゾンビ軍曹の一団が待ち構えている） 3.隠し扉（H)の先の薄暗い迷路のような部屋の西側にグリーン アーマーが置いてあるがその後ろに隠し扉がある。(I)ドアを 撃つと開けることができる。隠し扉を抜け、通路を奥に進むと chainsawが乗った台座（そばのスイッチで下がる）と屋外を 見渡せる部屋にたどり着く(J) 4.chainsawが置いてある部屋に続く通路の階段に踊り場が ある。 2つ目の踊り場の東の壁に隠し扉があり、扉を開けるとアーマー ボーナス4個が置いてある部屋(K)を明らかにする。 5.隠し扉（H）の先の薄暗い迷路のような部屋の東側にはもう 1つ隠し扉がある。 東側には2つの縦の金属フレームよって 挟まれた壁がありそこが隠し扉になっている。 このドアを 開けて中に入るとバックパックがある秘密部屋(L)がある。 6.放射性廃棄物の池の上に架かった橋の通路と暗室への リフトの間の短い通路の左側に隠し扉ある。 これを開け進む狭い通路（N）があり、暗室を見降ろせ る左側の台に続く。 things monster skill 1/2 skill 3 skill 4/5 Imps 3 8 18 Sergeants 0 0 8 Troopers 17 33 53 Powerups skill 1/2 skill 3 skill 4/5 Armor bonuses 20 20 20 Backpacks 2 2 2 Blue armors 1 0 0 Green armors 3 3 3 Health bonuses 21 21 21 Medikits 11 11 11 Soul Spheres 1 1 1 Stimpacks 6 6 6 Weapons skill 1/2 skill 3 skill 4/5 Chainsaws 1 1 1 Shotguns 1 1 1 Chainguns 1 1 1 Ammunition skill 1/2 skill 3 skill 4/5 Ammo clips 12 12 12 Bullet boxes 12 12 12 Shells 12 13 13 Shell boxes 2 1 2 Keys skill 1/2 skill 3 skill 4/5 Red cards 1 1 1 スクリーンショット e1m2スタート地点 redkeyに至る階段 放射性廃棄物の池の上に架かった橋の通路 暗室 exitへ? 回廊に続く隠し扉を開けるスイッチ? 薄暗い迷路のような回廊? 回廊東側の隠し扉? 回廊西側の隠し扉? 野外（シークレット#2）? chainsawエリア? シークレット#6から見降ろした暗室?