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https://w.atwiki.jp/toho/pages/5897.html
ふゆみか食べ歩きファイナル ~Lunatic East~ LIVE CD サークル:Unlucky Morpheus Icarus cry Disc1 Number Track Name Arranger Lyrics Vocal Original Works Original Tune Length Notes 01 解濫 平野幸村 - - 東方風神録 封印されし神々 [-- --] 猫吟鬼嘯 02 燐火の轍 平野幸村 天外冬黄 天外冬黄電子レンジ剛志 東方地霊殿 死体旅行 ~ Be of good cheer! [-- --] 猫吟鬼嘯 03 河童囃子 平野幸村 天外冬黄 天外冬黄電子レンジ剛志 東方風神録 芥川龍之介の河童 ~ Candid Friend [-- --] 猫吟鬼嘯 04 feast the night away 平野幸村 天外冬黄 天外冬黄電子レンジ剛志 東方萃夢想 砕月 [-- --] 東方幻想峠最速伝説~プロジェクトDownHill Queen 東方地霊殿 華のさかづき大江山 05 怨霊師 平野幸村 天外冬黄 天外冬黄電子レンジ剛志 東方夢時空 Reincarnation [-- --] 猫吟鬼嘯 06 式と為る者 平野幸村 天外冬黄 天外冬黄電子レンジ剛志 東方妖々夢 ティアオイエツォン(withered leaf) [-- --] 猫吟鬼嘯 07 己が船を漕いでゆけ 平野幸村 天外冬黄 天外冬黄電子レンジ剛志 東方星蓮船 キャプテン・ムラサ [-- --] 猫吟鬼嘯 08 ADVANCE TO THE DREAM 平野幸村 - - 東方永夜抄 もう歌しか聞こえない [-- --] ADVANCE TO THE DREAM 09 Second Chance 平野幸村 電子レンジ剛志 電子レンジ剛志 東方夢時空 夢は時空を越えて [-- --] ADVANCE TO THE DREAM 10 Vice 平野幸村 電子レンジ剛志 電子レンジ剛志 東方花映塚 春色小径 ~ Colorful Path [-- --] ADVANCE TO THE DREAM 11 我輩はぬこである 平野幸村 電子レンジ剛志 電子レンジ剛志 東方妖々夢 遠野幻想物語 [-- --] 不滅桜花 12 Anti INTO DREAM 平野幸村 電子レンジ剛志 電子レンジ剛志 東方星蓮船 魔界地方都市エソテリア [-- --] ADVANCE TO THE DREAM 小さな小さな賢将 13 Requiem 平野幸村 電子レンジ剛志 電子レンジ剛志 東方地霊殿 廃獄ララバイ [-- --] ADVANCE TO THE DREAM 14 Lost 平野幸村 電子レンジ剛志 電子レンジ剛志 東方永夜抄 懐かしき東方の血 ~ Old World [-- --] ADVANCE TO THE DREAM 15 式神教育委員会 平野幸村 電子レンジ剛志 電子レンジ剛志 東方妖々夢 少女幻葬 ~ Necro-Fantasy [-- --] 不滅桜花 16 suicide 平野幸村 電子レンジ剛志 電子レンジ剛志 東方夢時空 夢消失 ~ Lost Dream [-- --] ADVANCE TO THE DREAM 17 桜 平野幸村 電子レンジ剛志 電子レンジ剛志 東方妖々夢 さくらさくら ~ Japanize Dream... [-- --] 不滅桜花 Disc2 Number Track Name Arranger Lyrics Vocal Original Works Original Tune Length Notes 01 Hypothetical Box 平野幸村 - - 東方紅魔郷 ラクトガール ~ 少女密室 [-- --] Hypothetical Box 02 DRAGON FORCE 平野幸村 天外冬黄 天外冬黄 東方紅魔郷 上海紅茶館 ~ Chinese Tea [-- --] Hypothetical Box 03 烏天狗 平野幸村 天外冬黄 天外冬黄 東方文花帖 風神少女 [-- --] Hypothetical Box 04 SIVA 平野幸村 天外冬黄 天外冬黄 東方妖々夢 ネクロファンタジア [-- --] Hypothetical Box 05 THE TOWER OF THE BLOOD 平野幸村 天外冬黄 天外冬黄 東方紅魔郷 亡き王女の為のセプテット [-- --] Hypothetical Box 06 Le Cirque de Sept Couleurs 平野幸村 天外冬黄 天外冬黄 東方怪綺談 不思議の国のアリス [-- --] Jealousy 07 奇子 ~ Unknown Child 平野幸村 天外冬黄 天外冬黄 東方紅魔郷 U.N.オーエンは彼女なのか? [-- --] REBIRTH 08 Perverseness 平野幸村 天外冬黄 天外冬黄 東方地霊殿 少女さとり ~ 3rd eye [-- --] Jealousy 09 XXI 平野幸村 天外冬黄 天外冬黄 東方紅魔郷 月時計 ~ ルナ・ダイアル [-- --] Barrage Am Ring 0 10 Jealousy of Silence 平野幸村 天外冬黄 天外冬黄 東方地霊殿 緑眼のジェラシー [-- --] Jealousy 11 その魂に安らぎを ~ Dignity of Spirit 平野幸村 天外冬黄 天外冬黄 東方妖々夢 幽雅に咲かせ、墨染の桜 ~ Border of Life [-- --] Hypothetical Box ACT 2 Disc3 Number Track Name Arranger Lyrics Vocal Original Works Original Tune Length Notes 01 BPM210の上海アリス 平野幸村 - - 蓬莱人形 明治十七年の上海アリス [-- --] Jealousy 02 魔境堕天録サリエル 平野幸村 天外冬黄 天外冬黄 東方靈異伝 いざ、倒れ逝くその時まで [-- --] Jealousy 03 魍魎の密室 平野幸村 天外冬黄 天外冬黄 東方永夜抄 千年幻想郷 ~ History of the Moon [-- --] Shooting Summer 04 木葉天狗 平野幸村 天外冬黄 天外冬黄 東方風神録 フォールオブフォール ~ 秋めく滝 [-- --] REBIRTH 05 No Grudge Any More 平野幸村 天外冬黄 天外冬黄 東方夢時空 Reincarnation [-- --] REBIRTH 06 REBIRTH 平野幸村 - - 東方風神録 プレイヤーズスコア [-- --] REBIRTH 07 断罪は遍く人間の元に 平野幸村 天外冬黄 天外冬黄 東方風神録 信仰は儚き人間の為に [-- --] REBIRTH 08 百鬼飛行 平野幸村 天外冬黄 天外冬黄 東方星蓮船 万年置き傘にご注意を [-- --] Jealousy 09 神々が恋した幻想郷 平野幸村 天外冬黄 天外冬黄 東方風神録 神々が恋した幻想郷 [-- --] REBIRTH 10 Master of xxx! 平野幸村 天外冬黄 天外冬黄 東方永夜抄 恋色マスタースパーク [-- --] 限定お年玉CD 詳細 収録時間は堂々の38曲・3時間超! オープニングアクトの「猫吟希少」ももれなく収録した、おなかいっぱいの184分! 飛び交う音、光、これが Lunatic East だ! 避けきれずともかまわぬ!縦横無尽の弾幕勝負(パフォーマンス)がここにある! こんな藍しゃまもこんなアリスも見たことない!! しっぽは正直者のみ見ることができるのです 肝臓と魚卵、その塩梅や如何に……!? Unlucky Morpheus(あんきも)とIcarus cry(いくら)、無謀な競演をしかと見届けよ! イベント価格:2,000円 ショップ価格:2,520円(税込) レビュー 収録時間にびっくりしました。 一番最後にライブ音源じゃない おまけ曲があります。 DVDもあります。 ファンなら買って損はないです。 欠点は、IPodなのですが、 入れた時音が小さかったです。 -- yabai (2011-06-20 03 16 48) 名前 コメント
https://w.atwiki.jp/bemanimusicwiki/pages/1560.html
1999/02/25 発売 4,800円 収録総数:19曲AC新曲:14曲 CS新曲:5曲 ジャンル タイトル アーティスト 備考 AC収録 pop n music レゲエ Baby, I m yours LISA-T ←pop n 1 クラシック Chaos Age Waldeus vön Dovjak 条件隠し曲 pop n 2→ アフリカ Con te sabi 2119 Hamba Un Aa 条件隠し曲 pop n 2→ フュージョン CROSSOVER 12 319 条件隠し曲 pop n 2→ レイヴ e-motion e.o.s 条件隠し曲 ←pop n 1 ラテン El Pais del sol Senorita Rica ←pop n 1 テクノポップ Electronic Fill Windslope ←pop n 1 ディスコキング FUNKY TOWN 75 JV THE SEXY MACHINE GUN ←pop n 1 ダンス Hi-Tekno Hi-Tekno ←pop n 1 ポップス I REALLY WANT TO HURT YOU SGI REO ←pop n 1 J-ポップ Life Haya-P Maru 条件隠し曲 pop n 2→ ファンタジー monde des songe Bikke ←pop n 1 J-テクノ Quick Master act deft ←pop n 1 スパイ SPICY PIECE ORIGINAL SOUND TRACKS ←pop n 1 アニメヒーロー The theme of GAMBLER Z words/RYO song/NARAMCHA ←pop n 1 テクノ 80 Water Melon Woman NAKATEK 条件隠し曲 pop n 2→ ディスコクィーン what i want THE RICHIE SISTERS ←pop n 1 ラップ YOUNG DREAM LITTLE FINGERS ←pop n 1 ボーナストラック すれちがう二人 apresmidi 条件隠し曲 ←pop n 1
https://w.atwiki.jp/kai26cf/pages/216.html
J-Pop ETERNAL MELODYII / YOSHIKI
https://w.atwiki.jp/astrophysics/pages/25.html
HEASOFTのメモページ High Energy Astrophysics SOFTのページ。 HEASOFT関連のサイト HEAsoft こっからダウンロード可能。 天文的メモ内リンク XSELECT XSELECTについては、このページをだうぞ。 XSPEC XSPECについては、このページをだうぞ。 HEAsoftのインストール その1 このページから、まずはHEAsoftをダウンロードする。HEAsoftは、ソースとバイナリの2種類のインストール方法があるが、NASAが推奨している そんなに面倒くさくないので、ソースからインストールを選ぶ。 その2 HEAsoftに必要なものはすべて入っているかチェックする。ここをチェックするか、ダウンロードした中の"HEASOFT-INSTALL.TXT"に書いてある。 その3 ファイルをダウンロードしたら、適当な場所で解凍する。そのあとは、"HEASOFT-INSTALL.TXT"の通りにやれば問題ない。基本的には、tar.gzを解凍した場所を"HEADAS"とすると、 $HEADAS/heasoft-6.12/BUILD_DIR のところで、以下の3つを打てば良い。 ./configure 2 1 | tee congifure.log make 2 1 | tee make.log make install 2 1 | tee install.log その4 パスを通す作業を行う。自分の.bashrcなりに、 HEADAS=$HOME/heasoft-6.12/x86_64-apple-darwin11.4.2 export HEADAS alias heainit=". $HEADAS/headas-init.sh" heainit を書く。 これでxspecがうまく開ければ、インストール作業は終わり。 ヘッダを見たい fdump filename でヘッダが見られる。 ヘッダに書いてあるparameterの1つをみたい ヘッダからいちいちある特定のparameterを見るのが面倒な場合は、 fkeyprint filename parametername で値が分かる。 ヘッダに書いてあるparameterを変更したい fparkey filename (入れたい)value parametername とすればよい(はず)。
https://w.atwiki.jp/easystock/pages/11.html
EasyStockアンケート より良い製品にするため、皆様のご意見をお伺い致します。 ご投票の程よろしくお願いいたします。 【テーマ】現在のExcelボード形式に関して 選択肢 投票 現状のExcelファイルを用いる株価ボードで問題ない (0) Excelが利用できないため、何かしらの代替案を用意して欲しい。 (0) Excelの自由度(色・フォント・Excel関数等)が利用できなくなるのは嫌だ (0)
https://w.atwiki.jp/hanazonored2007/pages/224.html
SPEED POP 発売日 1995年3月1日 発売元 ポリドール POCH-7002 GLAY are Vo. TERU G. TAKURO G. HISASHI Ba. JIRO ■ 01. SPEED POP ・ 作曲・編曲 佐久間正英 ■ 02. HAPPY SWING ・ 作詞・作曲 TAKURO 編曲 GLAY / 佐久間正英 ■ 03. 彼女の“Modern・・・” ・ 作詞・作曲 TAKURO 編曲 GLAY / 佐久間正英 ■ 04. ずっと2人で ・ 作詞・作曲 TAKURO 編曲 GLAY / 佐久間正英 ■ 05. LOVE SLAVE ・ 作詞・作曲 TAKURO 編曲 GLAY / 佐久間正英 ■ 06. REGRET ・ 作詞・作曲 TAKURO 編曲 GLAY / 佐久間正英 ■ 07. INNOCENCE ・ 作詞・作曲 TAKURO 編曲 GLAY / 佐久間正英 ■ 08. Freeze My Love ・ 作詞・作曲 TAKURO 編曲 GLAY / 佐久間正英 ■ 09. 真夏の扉・ 作詞・作曲 TAKURO 編曲 GLAY / 佐久間正英 ■ 10. Life ~遠い空の下で~ ・ 作詞・作曲 TAKURO 編曲 GLAY / 佐久間正英 ■ 11. JUNK ART ・ 作詞・作曲 TAKURO 編曲 GLAY / 佐久間正英 ■ 12.RAIN・ 作詞・YOSHIKI 作曲 YOSHIKI / TAKURO 戻る
https://w.atwiki.jp/touhoukashi/pages/3364.html
【登録タグ Black Magic Girl K2E†Cradle Pandora's Box U つぅ 曲 有頂天変 ~ Wonderful Heaven】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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} /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/omuta-arao/pages/14.html
CHALLENGES IN DEVELOPING A MANAGEMENT APPROACH TO INDUSTRIAL HERITAGE SITES 2011.2 M. Peason Unity of time, and the temptation to try to recapture the ‘Meiji moment . Unlike some other heritage places. the value of industrial sites may not be based on their representing any one point of time. Many industrial sites reflect the evolution of industrial processes and operations over a period of time, with changes and alterations adding new components, or taking away old components. Taking an industrial site back to one earlier point in time is generally not the objective of its conservation, and as the Nizhny Tagil Charter for the Industrial Heritage (TICCIH 2003) says, reconstruction or returning toa previous known state should be considered an exceptional intervention . Trying to either reconstruct a site as it is thought to have been in the Meiji, or removing later components of a place, is not supported by international guidelines. The Venice Charter (Article 11) says ‘The valid contributions of all periods to the building of a monument [ or site ] must be respected, since unity of style is not the aim of a restoration. When a building [or site] includes the superimposed work of different periods, the revealing of the underlying state can only be justified in exceptional circumstances and when what is removed is of little interest and the material brought to light is of great historical, archaeological or aesthetic values, and its state of preservation good enough to justify the action. Evaluation of the importance of the elements involved and the decision as to what may be destroyed cannot rest solely on the individual in charge of the work. An example in the Japanese nomination Mitsubishi Shipyards at Nagasaki, where the nominated componente are part of an evolved operating shipyard. The dry dock, pattern shop (now the Museum) and the crane have al undergone modification over more than a hundred year period to enable them to fulfil their industrial and company purposes. Trying to revert to a Meiji era form would be ahistorical, would be conjectural to some degree, and would confuse the heritage values of the place. Reconstructing ruins Ruins and incomplete structures can tell their own history. In industrial sites the reconstruction of incomplete remains very often involves conjecture about what the original site was really like, and the Venice Charter (Article 9) says very clearly that restoration must stop at the point where conjecture begins, and in this case moreover any extra work which is indispensible must be distinct from the architectural composition and must bear a contemporary stamp. The interpretation of what constitutes the appropriate ‘contemporary stamp is controversial, but the main thrust of the charter is clear - don t reconstruct on the basis of conjecture. The Nizhhny Tagil Charter for the Industrial Heritage says 5.VII. Reconstruction, or returning to a previous known state, should be considered an exceptional intervention and one which is only appropriate if it benefits the integrity of the whole site, or in the case of the destruction of a major site by violence. Venice Charter (Article 15) says that in the case of excavated ruins ; ‘Ruins must be maintained and measures necessary for the pennanent conservation and protection of architectural features and of objects discovered must be taken. ... All reconstruction would should however be ruled out a priori. Only anastylosis, the re-erection of complete collapsed elements, is allowed, and even this has become controversial since the Venice Charter was written. An example in the Japanese nomination would be the reverberatory furnace at Shuseikan at Kagoshima. Only the foundations survive, and to attempt to reconstruct the furnace would be based very largely on conjecture, would probably destroy or bury the original fabric of the historical era, and would distort the heritage values of the place. Aesthetic preservation vs industrial character and authentic setting Industrial sites are seldom beautiful. Some are imposing because of their scale or the sculptural nature of their elements, but they are very seldom built for aesthetic effect. Therefore aesthetic judgements should not guide their conservation. Industrial sites however often have a character within their setting that reflects their industrial origins. This can include operational or abandoned equipment, rail lines, ash, coal or waste emplacements, and often a rather barren landscape. This setting is often not aesthetically pleasing, but it can be a powerful tool in understanding the industrial site, and often deserves to be conserved. It is very often not appropriate to try to beautify industrial sites, and the replacement of traditional settings with manicured parklands and urban recreational landscapes is very seldom appropriate, and detracts from theappreciation of the heritage significance of the industrial site. The Venice Charter (Article 7, in another context) states that A monument is inseparable from the history to which it bears witness and from the setting in which it occurs. And (Article 6), states in part that `...Wherever the traditional setting exists, it must be kept. This is echoed in the Nizhny Tagil Oharter ( 2 III ) These values are intrinsic to the site itself, its fabric, components, machinery and setting, in the industrial landscape, in written documentation, and also in the intangible records of industry contained in human memories and customs. This concept is also echoed in the Joint ICOMOS-TICCIH Principles for the conservation of industrial heritage, sites, structures, areas and landscapes, draft of 8 October 2010, article 2. Industrial sites are also often dirty buildings. and in some cases the accumulation of smoke and oil stains, abrasion marks and grime, tell as much about the industrial process as does the machinery itself. Cleaning up industrial buildings and machinery should be considered a very significant decision. and one not taken lightly, as irreplaceable evidence of the past might be lost. Public safety might be a consideration in some rare cases, but there are many ways to make a site safe and avoid public contact with oil and grime without having to remove it all together. An example in the Japanese nomination would be the Manda Pit of the Miike mines at Omuta. The mine headframe, winder building, fan house and other support buildings survive in an industrial setting that makes sense of the buildings and the spaces between them. To some extent the industrial landscape allows the experience of the workers at the site to be understood. To remove the railway remains. mining equipment, and bare open spaces., and introduce instead a modem municipal park landscape, would destroy the industrial context of the place, and reduce the buildings to being just exhibits in a sterile modem garden. Levels of intervention The commonly adopted principle for conservation work is to do as much as is necessary to conserve the place, but as little as is possible. The Venice Charter indicates intervention must stop at the point where conjecture begins. The Nizhny Tagil Charter (4 Ⅲ) indicates yhat The most important sites should be fully protected and no interventions allowed that compromise their historical integrity or the authenticity of their fabric. Sympathetic adaptation and re-use may be an appropriate and a cost-effective way of ensuring the survival of industrial buildings, and should be encouraged by appropriate legal controls, technical advice, tax incentives and grants. A key aim of the conservation of industrial sites is to retain as much of the evidence of the use of the place at the place. The Nizhny Tagil Charter (5.Ⅰ) indicates that Conservation of the industrial heritage depends on preserving functional integrity, and interventions to an industrial site should therefore aim to maintain this as far as possible. The value and authenticity of an industrial site may be greatly reduced if machinery or components are removed, or if subsidiary elements which form part of a whole site are destroyed. This also means that components of industrial places should not be moved to other places, as museum items or exhibits, or destroyed to ‘clean up a site. The Nizhny Tagil Charter (5.Ⅲ) Preservation in situ should always be given priority consideration. Dismantling and relocating a building or structure are only acceptable when the destruction of the site is required by overwhelming economic or social needs. The Joint ICOMOS-TICCI!I Principles for the conservation of industrial heritage, sites,structures,areas and landscapes also states (9) Protection measures should apply to buildings and their contents since completeness or functional integrity is especially important to the significance of industrial heritage structures and sites. Their heritage value may be greatly jeopardized or reduced if machinery or other significant components are removed, or if subsidiary elements which form part of a whole site are destroyed. An example in the Japanese nomination would be the Customs House at Miike Port. Much of the original fabric of the customs house survives intact, and other parts have been simply moved to new locations within the building. This building could be conserved without requiring its demolition and reconstruction, and in the process most of its original fabric could be retained to tell an authentic story of its history and use. Only as much intervention should take place as is required to ensure the stability or the structure, and its ability to withstand its new use. Continued industrial use Some sites with industrial heritage significance are still in industrial use. The Venice Charter (Article 5) states that The conservation of monuments is always facilitated by making use of them for some socially useful purpose. The Nizhny Tagil Charter (4 Ⅱ) indicates that Programmes for the conservation of the industrial heritage should be integrated them for some socially useful purpose. And 5. Ⅴ states Continuing to adapt and use industrial buildings avoids wasting energy and contributes to sustainable development. Industrial heritage can have an important role in the economic regeneration of decayed or declining areas. The continuity that re-use implies may provide psychological stability for communities facing the sudden end a long-standing sources of employment. The Joint ICOMOS-TICCIH Principles for the conservation of industrial heritage, sites, structures, areas and landscapes also states ( 8 ) In the case of active industrial structures or sites of heritage significance, it must be recognized that their continued use and function might carry some of their heritage significance and provide adequate conditions for their physical and economic sustainability as a living production or extraction facilities. Their specific technical characteristics and features need to be respected while implementing contemporary regulations such as building codes, environmental requirements or risk reduction strategies to address hazards of natural or human origin. And (10) Appropriate original or alternative and adaptive use is the most frequent way and often the most sustainable way of ensuring the conservation of industrial heritage sites or structures. ...Building codes, risk mitigation requirements, environmental or industrial regulations, and other standards should be implemented in an adapted way to take heritage dimensions into account when they are enforced through physical interventions. An example from the Japanese nomination would be at Yawata Steelworks. The continued use of the repair workshop for industrial uses that do not endanger its historic fabric would maintain the historically traditional use of the building. Similarly, the continued use of the pumping station at Onga River is a much more appropriate continuing use than converting the place to a new use. In both cases the traditional use has precedence over tourist-oriented uses―World Heritage listing is first and foremost about conserving WH values, not providing tourist attractions. Proper documentation and discussion of conservation proposals Current international best practice suggests that proposals for the conservation of places of heritage significance should be based on the inputs of relevant expert advice, and should be documented and widely discussed before action is taken. The Nizhny Tagil Charter (3 Ⅷ) indicates that The value of significant sites should be defined and guidelinesfor future interventions established. Any legal, administrative and financial measures that are necessary to maintain their value should be put in place. Proper documentation and discussion reduces the chance of poor decision making, and a documented conservation plan should provide clear evidence of what exists at a place before works start. what evidence is used to establish the heritage values of the place, and what the proposed works are to conserve those values. The conservation plan also shows future managers what has been done to a place and why. The World Heritage Operational Guidelines require adequate documentation of conservation proposals and actions. Heritage decisions based on un-documented verbal conversations is not a supportable basis for conservation planning.
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