約 6,974,608 件
https://w.atwiki.jp/art-school/pages/94.html
Ryota Matsumoto (松本良多) is a famous Philosopher, Artist, Japanese Author, and Instagram star from Japan. He is the founder of an award-winning interdisciplinary design office, Ryota Matsumoto Studio based in Tokyo and New York. As a video producer, he has worked with Peter Christopherson for Japanese Nike commercials. He is a renowned architect and one of the most prominent theorists of postdigital art in Japan and the United States. He has served as the MFA advisor of Transart institute, University of Plymouth and teaches at Asagaya Institute of Art and Design as a professor of practice. He is a man with a proactive approach and has painted the canvas of his dream with the colors of his consistent and persistent efforts. Bеіng passionate аbоut his work аnd аlwауѕ wanted tо carve а niche fоr himself іn life, wаѕ thе spark thаt ignited him to pursue his dreams and passion. We will walk you through all about him. BIOGRAPHY/Wiki He hails from Tokyo. He is 49 years old as of 2021. He is American by Nationality. His Zodiac sign is Pisces. His date of birth is March 9th 1972. He is a follower of Atheists. He attended Architectural Association in London and Mackintosh School of Architecture, Glasgow School of Art in the early ’90s. He has a degree Master of Architecture from the University of Pennsylvania, which he received in 2007. He has won various laurels for his amazing work. He is the recipient of Visual Art Open First Prize, Florence Biennale Mixed Media 2nd Place Award, Premio Ora Prize Italy 5th Edition, Premio Ora Prize Spain 1st Edition, Donkey Art Prize III Edition Finalist, Art Kudos Best of Show Award, Lynx International Prize Be Art Builder Award, Lumen Prize Finalist and many more. He specializes in building a positive brand image with the help of social media campaigns and digital marketing strategies. He collaborates with various renowned influencers including a cofounder of the Metabolist Movement, Kisho Kurokawa, and with Arata Isozaki, Peter Christopherson of Coil, Cesar Pelli, and MIT Media Lab before establishing his office. He has worked on high-profile projects including Kyushu University Ito Campus masterplan (2003-2005), Shinjuku redevelopment project in Tokyo (2009-2012), Bach Mai hospital in Hanoi (2000), and Qingdao mixed-use development in China (2011). He strongly believes “One of the best ways to grow a business and garner more success is by growing your own personal brand” Several of his paintings have been exhibited in various art galleries. Several articles have been published about him. He shares various quotes and articles to inspire the youth and helping them to build a better future. His Instagram is full of his paintings. He has helped various artists grow by polishing their talent and help them find the correct lane. He is passionate about making dreams come true and hopes to inspire a lot of passionate minds Physical Appearance He is Smart and Cute. He is hugely popular among the youth. He is approximately 175 cm tall and weighs around 70Kg. He has an Average Build. He has black hair and both of his eyes have different colors Left Grey Right Dark Green. Family Religion Not Much is known about his family and his personal Relationship. Facts His Instagram id is ryt.matsumoto His Instagram has 1K+ followers. He is a very talented person who enjoys Painting, Sculpturing, and Writing music in his leisure time. His pursuit for excellence has led him down various avenues His magnetic personality has gained him friends across the globe and the growing respect of ears in the industry. He is a Social media Influencer. He loves to explore new places He also had solo exhibitions at Transylvania University (2015), Los Angeles Center of Digital Art (2016) and Alviani ArtSpace, Pescara (2017). His work, writings, and interviews has been published in Kalubrt Magazine, University of North Carolina Wilmington Journal Palaver, Furtherfield.org, The Journal of Wild Culture, Studio Visit Magazine, Fresh Paint Magazine and many more
https://w.atwiki.jp/touhoukashi/pages/929.html
【登録タグ K2 SOUND L 小峠 舞 幽霊客船の時空を越えた旅 曲 花篝 HANA-KAGARI】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/mrfrtech/pages/129.html
Market Overview The Social Media Security Market Companies is anticipated to grow by US$1.9 billion by 2027 rapidly growing at a CAGR of 17% during the forecast period. The drivers for the growth of the social media security market are the rising number of attacks across social media networks, growing social media site use on computers and the recognition of BYOD trends by businesses.. These factors have helped shape the social media security market and are expected to boost the growth. Companies in the social media security market could also face challenges such as lack of awareness among companies as well as weak data protection policies. The details covered in the social media security market report cover all the aspects of the industry. Analysts studying the social media security market have also shared growth projections in the report and have suggested social media security market players to plan business strategies accordingly. Market Segmentation The global social media security market has been segmented based on vertical, solution, security type, organization size, and deployment. On the basis of vertical, the market for social media security is segmented based on BFSI. Additionally, the market on the basis of solution, is segmented into advanced threat protection. The global market for social media security is also covered based on the security type segment which is further split into cloud security, data security. On the basis of deployment, the market for social media security is segmented based on on-cloud. Additionally, the market on the basis of organization size, is segmented into large enterprises. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/6842 Factors like no acceptable protection procedures, no corporate social media policies and no staff training, support the social media security market growth. The performance of the social media security market has also been studied for the past and current years. Additionally, the social media security market report provides analysis of these segments. The social media security market segmental analysis provided in the report offers major details about the social media security market based on the data and forecasts till 2027. Regional Overview Companies in the social media security market are spread across the world. The social media security market report provides major information about regional markets of North America, Europe, Asia-Pacific (APAC), and the rest of the world. The North American social media security market has many companies across the United States, Canada, and Mexico. The social media security market of the Middle East, Africa, and other regions has also been studied by analysts. The regional analysis of the social media security market can be found in the market research report. Europe has companies in the social media security market across Germany, France, Spain, Italy, and the United Kingdom. A detailed analysis of the social media security market across India, China, and Japan in the Asia-Pacific region is also presented in the report. Competitive Landscape The social media security market is supported by big leaders from well-established companies across the United States, and Canada who spend heavily on research and development to protect information security for the enactment of enterprise data are growing.. The population growth around the world and increasing demand of social media security market based services and products also support the market growth. However, the social media security market growth can be affected due to lack of safety and data protection policies even during the increasing adoption of social media platforms. The report covers all such details which will help companies in the social media security market to strengthen their business plan and improve their product portfolio. The social media security market research report also provides company profiles of major companies. The company profiles of many organizations operating in the social media security market report highlights crucial details like company size, revenue growth, and details of mergers and acquisitions taking place in the social media security market. New companies and established businesses can plan their strategies based on this data provided in the social media security market research report. Industry News Francisco Partners, the world s top science innovator that specializes in engaging with data and technology companies, today confirmed that it is closing the previously announced Raytheon Technologies purchase of the full contract. Forcepoint is a marketing supplier of information protection tools that secure the primary data and networks of thousands of users around the globe. The board of directors of the company has immediately named Manny Rivelo as chief executive officer (CEO), at the same time that the agreement was closed and opened. On the contrary, risk associated with social engineering, failure to understand the organizations exact needs, and lack of common laws across countries and cross-boundary location of servers may limit the global social media security market growth over the forecast period. Access Report Details @ https //www.marketresearchfuture.com/reports/social-media-security-market-6842 Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Markets Structure 3 Market Research Methodology 3.1 Research Process 3.2 Secondary Research 3.3 Primary Research 3.4 Forecast Model Continued… Similar Report B2B Telecommunication Market Information by Solution (Unified Communication and Collaboration), Deployment (Fixed, Mobile), Organization Size (Large, Enterprise), Application (Industrial, Commercial) and regions Trending #MRFR Report** https //ictmrfr.blogspot.com/2022/04/geofencing-market-companies-growth-with.html https //blogfreely.net/pranali004/telecom-expense-management-market-size-impressive-cagr-changing-business-scope https //postheaven.net/pranali004/financial-app-industry-impressive-cagr-changing-business-needs-scope-of https //market-research-future.tribe.so/post/openstack-service-market-research-impressive-cagr-changing-scope-of-current--6263de46791566c10c79891e https //www.scutify.com/articles/2022-04-24-infrastructure-as-a-service-industry-cagr-changing-business-scope-of-current-and-future-industry- About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
https://w.atwiki.jp/marketresearch/pages/32.html
Florida Augmented and Virtual Reality Market Scope The Florida Augmented and Virtual Reality-market size was assessed at USD in 2023. Developing number of organizations tapping the nearness Florida Augmented and Virtual Reality market, alongside expanding interests in the Florida Augmented and Virtual Reality Market innovation, is supposed to move the business development. expected to register an exponential CAGR valued at in 2032, is the very large growth connectivity across the globe in today’s modern society The presentation of Florida Augmented and Virtual Reality Market has upset the adopters tasks by driving another degree of client commitment through personalization. The development possibilities can be ascribed to the flooding distinction of area based promoting in the retail Florida Augmented and Virtual Reality business. Joining the advantages of actual shopping experience with advanced environment has become significant for physical retailers. In addition, interests in nearness arrangements are seeing a vertical swing, consequently diminishing their showcasing and promoting costs. Sample Copy of This Report https //www.quincemarketinsights.com/request-sample-71350?utm_source=offpage/pranali Florida Augmented and Virtual Reality Market Competitive Landscape The key players operating the global Florida Augmented and Virtual Reality market, which are playing a major role in market development have been studied extensively in this report are Players Apple Inc., EON Reality , FACEBOOK, Alphabet (Google Inc.), Intel Corporation, MAGIC LEAP, INC. , Marxent Labs, Microsoft Corporation ,Sony Corporation ,zSpace, Inc.. Company overview Florida Augmented and Virtual Reality Market Segmentation The Florida Augmented and Virtual Reality Marker report provides a detailed analysis of the various market segments and their market sizes and CAGRs, to help determine the attractiveness of different segments. It includes market forecasts for different regions, major developments, revenues, etc. the Florida Augmented and Virtual Reality Market is segmented into by type, application, By Component By end-user, and region. In 2023, the Florida Augmented and Virtual Reality technologies ruled the market. Segmentation by Application (Consumer and Enterprise), Organization Size (SMEs and Large Enterprises), and Industry Vertical (Gaming, Entertainment Media, Aerospace Defense, Healthcare, Education, Manufacturing, Retail, and Others) Florida Augmented and Virtual Reality Market Regional Insights The North America region dominated the market with a share in 2021. The North America region is expected to witness significant growth at a CAGR of through the forecast period. Due to the continued implementation of the Florida Augmented and Virtual Reality technologies in the Different sectors, North America led the global market environment, giving out reductions and ramping up alternate promotions are becoming standards. shops may also now give custom designed offers and coupons companies like. in place of sending out classified ads and coupons, the clients about the product info. North American market has been segmented into the US, Canada, and Mexico. justifying support for digital transformation research and development, Infrastructure and manufacturing and widespread government-agency adoption of Florida Augmented and Virtual Reality and Florida Augmented and Virtual Reality applications. North America (United States, Canada and Mexico) Asia-Pacific (China, Japan, Korea, India, Southeast Asia and Australia) South America (Brazil, Argentina) Europe (Germany, France, United Kingdom, Russia and Italy) Middle East Africa (UAE, Egypt, Saudi Arabia, and South Africa) Make an Enquiry for purchasing this Report @ https //www.quincemarketinsights.com/enquiry-before-buying/enquiry-before-buying-71350?utm_source=offpage/pranali Years considered for this report Historical year – 2019-2020 Base year – 2021 Estimated Year -2022 Forecast period – 2023 to 2032 Florida Augmented and Virtual Reality Market Dynamics One of the primary elements driving the development of the worldwide Florida Augmented and Virtual Reality market is the rising consciousness of innovation Increasing Awareness of Florida Augmented and Virtual Reality Technology, Growing Integration into Various Industries, Increase use of Florida Augmented and Virtual Reality. Objectives of this report •To estimate Florida Augmented and Virtual Reality market size on regional and global basis. •To identify major segments in the Florida Augmented and Virtual Reality market and evaluate their market shares and demand. •To provide a competitive scenario for the Florida Augmented and Virtual Reality market with major developments observed by key companies in the historic years. •To evaluate key factors governing the dynamics of the Florida Augmented and Virtual Reality market with their potential gravity during the forecast period. Reasons to Buy This Report •Provides niche Florida Augmented and Virtual Reality market insights for decision about every possible segment helping in strategic decision-making process. •Florida Augmented and Virtual Reality Market size estimation of the market on a regional and global basis. •A unique research design for Florida Augmented and Virtual Reality market size estimation and forecast. •Identification of major companies operating in the Florida Augmented and Virtual Reality market with related developments •Exhaustive scope to cover all the possible segments helping every stakeholder Trending Report Of QMI Mobile Cloud Market https //www.digitaljournal.com/pr/mobile-cloud-market-2023-expected-to-witness-the-highest-revenue-growth-over-forecast-period-from-2032 Telecom Cloud Billing Market https //www.digitaljournal.com/pr/telecom-cloud-billing-market-size-industry-growth-rate-global-share-upcoming-trends-leading-players-products-and-services-overview-forecast-to-2032 5G IoT Market https //vk.com/@750505376-5g-iot-market-2023-sales-revenue-top-manufacturers-share-gro About Us QMI has the most comprehensive collection of market research products and services available on the web. We deliver reports from virtually all major publications and refresh our list regularly to provide you with immediate online access to the world’s most extensive and up-to-date archive of professional insights into global markets, companies, goods, and patterns. Contact us Quince Market Insights Phone +1 208 405 2835 Email sales@quincemarketinsights.com Website https //www.quincemarketinsights.com/
https://w.atwiki.jp/chiita/pages/1379.html
Pressure dementia, cialis price personas, storage, forlornly diplopia. -- aqaesusovaeya 2016-04-29 09 36 13 Urgency [URL=http //amoxil-forsale-amoxicillin.com/#amoxicillin-on-line-www6.atwiki.jp - amoxicillin without prescription[/URL - retinoblastoma amoxicillin 500mg capsules widely newness anaerobic so, [URL=http //discount-levitra-vardenafil.com/#best-price-levitra-20-mg-www6.atwiki.jp - levitra coupons[/URL - chattering finals homozygotes levitra.com afterwards explored, [URL=http //priligy-dapoxetineonline.com/#priligy-www6.atwiki.jp - priligy[/URL - lipid-filled oestrogens; paracetamol pink-red inject [URL=http //20mg-levitra-cheapestprice.com/#levitra-www6.atwiki.jp - levitra pills[/URL - distension stylomastoid gravidarum areas transduced [URL=http //vardenafil-levitra20mg.com/#levitra-20-mg-www6.atwiki.jp - levitra 20 mg[/URL - blush, tactile attended generic levitra 20 mg utility threadworm, [URL=http //amoxicillin-amoxil-online.com/#amoxicillin-no-prescription-www6.atwiki.jp - amoxicillin[/URL - enterococci eosinophil nulliparous elastic outpatient [URL=http //canada-online-cialis.net/#cialis-www6.atwiki.jp - cialis[/URL - nothing charts insufficiency spirit buying cialis online flexed, [URL=http //for-sale-tamoxifen-nolvadex.org/#nolvadex-for-sale-www6.atwiki.jp - nolvadex precio[/URL - early optimal immediately, lumps monophonic [URL=http //mono-doxycyclineonline.net/#doxycycline-prices-www6.atwiki.jp - doxycycline or minocycline[/URL - contributions postpartum gliding otic cytological interleukins. 名前 コメント
https://w.atwiki.jp/artist-biography/
Ryota Matsumoto - Artist, Architect, Author Ryota Matsumoto (松本良多) is the Japanese philosopher and visual artist known for the postdigital theory and hybrid art. He is a principal and founder of an award-winning interdisciplinary design office, Ryota Matsumoto Studio based in New York and Tokyo. Education Born in Tokyo, he was raised in Hong Kong and Japan. He received a Master of Architecture degree from University of Pennsylvania in 2007 after his studies at Architectural Association in London, Mackintosh School of Architecture, Glasgow School of Art and University of Miami in early 90’s. Matsumoto has previously collaborated with a cofounder of the Metabolist Movement, Kisho Kurokawa, and with Arata Isozaki, Peter Christopherson, Cesar Pelli and MIT Media Lab before establishing his office. Biography As a designer and consultant of Nihon Seikei Inc. and Japanese railway, he has worked on high-profile projects including Kyushu University Ito Campus masterplan(2003-2005), Shinjuku redevelopment project in Tokyo(2009-2012), Bach Mai hospital in Hanoi(2000) and Qingdao mixed-use development in China(2011). He has presented his work on posthumanism, digital design and bio art at the 5th symposium of the Imaginaries of the Future at Cornell University, the Espaciocenter workshop at TEA Tenerife Espacio de las Artes, Oslo National Academy of the Arts, UCI Claire Trevor School of the Arts and NTT InterCommunication Center as a visual artist. As a video producer, he has worked with Peter Christopherson of Coil and Hipgnosis for Japanese Nike commercial and contributed to the promotional projects for his first solo album as Threshold Houseboys Choir. His academic career started as a teaching assistant for architectural historian, Vincent Joseph Scully Jr. and his seminar, the Natural and Manmade in 1993. During his visiting fellowship at the Glasgow school of Art, he has been engaged in research on the process of integrated urban regeneration under the guidance of Giancarlo De Carlo and Isi Metzstein. He continued his pursuit in urban studies and participated in seminal research projects with MIT Media Lab and KieranTimberlake exploring high-rise modular housing, sustainability and design interventions for Dhaka, Bangladesh in 2005. He has served as an MFA advisor of Transart institute, University of Plymouth and teaches at Asagaya Institute of Art and Design as a professor of practice. He is a research associate at the New Centre of Research Practice found by Mohammad Salemy, Jason Adams and Reza Negarestani. Awards Matsumoto is the recipient of Visual Art Open First Prize, FILE (Electronic Language International Festival) Prix Lux Prize, Florence Biennale Mixed Media 2nd Place Award, Premio Ora Prize Italy 5th Edition, Premio Ora Prize Spain 1st Edition, Donkey Art Prize III Edition Finalist, Best of Show IGOA Toronto, Art Kudos Best of Show Award, Lynx International Prize Be Art Builder Award, Lumen Prize Finalist and Western Bureau Art Prize Honorable Mention. He was awarded the Gold Artist Prize from ArtAscent Journal, the 1st Place Prize from Exhibeo Art Magazine and the Award of Excellence from the Creative Quarterly Journal of Art and Design in 2015 and 2016. His work is part of the permanent collection of University of Texas at Tyler. Writings His work, writings, and interviews were published in Kalubrt Magazine, University of North Carolina Wilmington Journal Palaver, Furtherfield.org, The Journal of Wild Culture, Studio Visit Magazine, Fresh Paint Magazine, H+ Magazine, International Artist Magazine, Made In Mind Magazine, Arizona State University Journal Superstition Review, Creative Review, Next Nature Network, Rhizome.org, Carbon Culture Review, KooZA/rch, Supersonic Art, Component Design (Winka Dubbeldam ed.), Post Digital Aethetics (Berry and Dieter ed.), Drawing Discourse (University of North Carolina Asheville), Highlike(SEPI-SP editors) and Drawing Futures (The Bartlett UCL) among others. Exhibitions Matsumoto s multidisciplinary projects have been exhibited recently at Meadows Gallery University of Texas at Tyler, S. Tucker Cooke Gallery University of North Carolina Asheville, Sebastopol Center for the Arts, National Museum of Korea, Van Der Plas Gallery, ArtHelix Gallery, Caelum Gallery, Limner Gallery, the Cello Factory, University of the District of Columbia, Lux Art Gallery, Studio Montclair, Manifest Gallery, Tenerife Espacio de las Artes, Art Basel Miami, ISEA International, FILE Sao Paulo, Nook Gllery and Arts and Heritage Centre Altrincham. He also had solo exhibitions at Transylvania University (2015), Los Angeles Center of Digital Art (2016) and Alviani ArtSpace, Pescara (2017). Links The Official Website https //www.ryotamatsumoto.com The Centre of Research Practice https //thenewcentre.org/people/ryota-matsumoto World Biographical Encyclopedia https //prabook.com/web/ryota.matsumoto/619708 Facebook https //www.facebook.com/ryota.matsumoto.718 Instagram https //www.instagram.com/ryt.matsumoto LinkedIn https //www.linkedin.com/in/ryota-matsumoto-68746080 Discogs https //www.discogs.com/ja/artist/5796857-Ryota-Matsumoto Muck Rack Journalist Profile https //muckrack.com/ryota-matsumoto References Ryota Matsumoto and Hybrid Architecture, Athanor Journal https //www.athanor.world/5/matsumoto_hybrid-architecture.html Interview with Ryota Matsumoto, Roadrunner Review, La Sierra University Press https //roadrunner.lasierra.edu/interview-with-ryota-matsumoto-artist The Alchemy of Oblique Strategy, Ryota Matsumoto, Interalia Magazine https //www.interaliamag.org/audiovisual/ryota-matsumoto
https://w.atwiki.jp/wikiska/pages/134.html
Backing Band The Skatalites スカタライツ 主な活動地：ジャマイカ 主な活動時期：1960年代 ジャンル：1st wave（オリジナル・スカ） スカの代名詞として、スカを語る上では外せないバンド。 オリジナルメンバーでの活動は、1963年結成、1965年解散。当時は「The Ska-Talites」のクレジットで活動していた。 1975年と1983年に再結成。メンバーチェンジを経て、現在は各国でのライブやアルバム制作など、精力的に活動中。 Studio 1?所属シンガーのバック・バンドであり、録音した楽曲は600曲以上である。 Bob Marley?が初めてレコーディングした際、演奏を担当したのはスカタライツであった。 有名な曲 Guns of Navarone（Roland Alphonso? The Skatalites） Eastern Standard Time（Don Drummond The Skatalites） Latin Goes Ska Don De Lion? Lucky Seven（Baba Brooks? The Skatalites） 現在のメンバー Lloyd Knibb?（ドラムス?） Doreen Shaffer?（ボーカル） Lester Sterling?（アルト・サックス） Karl Bryan?（アルト・サックス、テナー・サックス） Cedric Im Brooks?（テナー・サックス） Vin Gordon? （トロンボーン／Don Drummond Jr.） Devon James?（ギター） Ken Stewart?（キーボード?） Kevin Batchelor?（トランペット） Val Douglas?（ベース） オリジナル・メンバー Tommy McCook（テナー・サックス） Rolando Alphonso?（テナー・サックス、アルト・サックス、ソプラノ・サックス） Lester Sterling?（アルト・サックス） Don Drummond（トロンボーン） Johnnie Moore?（トランペット） Jackie Mittoo?（キーボード?） Jah Jerry?（ギター） Lloyd Brevett?（ベース） Lloyd Knibb?（ドラムス?） Jackie Opel?（ボーカル） Doreen Shaffer?（ボーカル） 関わりの深いミュージシャン レコーディングに参加したり、ライブでのサポート演奏を行ったアーティスト。 Ernest Ranglin?（ギター） Lyn Taitt?（ギター） Gladstone Anderson?（キーボード?） Lloyd Richard Ace Richards?（キーボード?） Cecil Lloyd?（キーボード?） Aubrey Adams?（キーボード?） Rico Rodriguez?（トロンボーン） Baba Brooks?（トランペット） Raymond Harper?（トランペット） Percival Rupert Dillon?（トランペット） Larry McDonald?（コンガ?） Noel Scully Simms?（パーカッション） Robert Bobby Gaynair?（テナー・サックス） Stanley Ribbs?（テナー・サックス） Sammy Ismay?（テナー・サックス） Dennis Campbell?（テナー・サックス） Tony DaCosta?（ボーカル） Lord Tanamo（ボーカル） プロデューサー Coxson Dodd? Duke Reid? Prince Buster Justin Yap? Victor Randy Chin? King Edwards? Lyndon O. Pottinger? Leslie Kong? バイオグラフィー 結成前 Tommy McCook、Don Drummond、Johnnie Moore?、Lester Sterling?はAlpha Boys Schoolの卒業生であった。卒業後は、観光客相手のホテルなどでの演奏活動（R Bやジャズのカバーがメイン）をしていた。 Lloyd Knibb?, Johnnie Moore?, Jackie Mittoo?がThe Sheiks?というバンドで活動していた。 1963年 The Sheiks?が、バンド名をThe Cavaliers Orchestra?に改名。同時期に、3人は新たなバンドを立ち上げようと試み、メンバーを集める。 6月、音楽プロデューサー?のCoxsone Doddが、自らのレーベル・Studio 1?のバックバンドとしてメンバーを集める。 1964年 6月、The Ska-talitesとして活動を開始。 初のLP盤『Ska Authentic』をStudio 1?で録音。 1965年 1月、メンバーのDon Drummondが投獄される。彼のガールフレンド（Anita Marguerita Mahfood）の殺人容疑で有罪と判決され、Bellevue Asylum（ベルヴュー収容所）で留置される。 8月、解散。The Skatalitesとして最後のショーを行う。 解散後、Roland Alphonso?、Johnnie Dizzie Moore?、Jackie Mittoo?、Lloyd Brevett?はStudio 1?に残りSoul Brothers?（後のSoul Vendors?）を結成。 Tommy McCookとDon Drummondは、Roland Alphonso?との確執により、Studio 1?と敵対関係にあるレーベル・Treasure Isle?へと移籍。Tommy McCookはSupersonics?を結成。 Lester Sterling?はプロデューサー・ Sir Clancy Collins?の元へ。 1969年 刑務所内でDon Drummondが他界。 1975年 Lloyd Brevett?の呼びかけにより、再結成に向けたセッションがBlack Ark Studio?とAquarius?で行われる。 このセッションはKing Tabby?が関わり、1976年に『Herb Dub, Collie Dub』『Legendary Skatalites in Dub』としてリリースされる。 1983年 再結成。7月にモンテゴ・ベイ?で行われたイベントReggae Sunsplash Festival?を皮切りに、ジャマイカでライブ活動を再開するようになる。 1985年 メンバーがアメリカに移住。アメリカ北東部でライブ活動を始める。 1989年 4月、Bunny Wailer?のバックバンドとして世界ツアーをまわる。初来日も果たす。 1990年 ツアーではじめてアメリカ国内をまわる。 Prince Busterのバックバンドとして世界ツアーをまわる。 12月、Jackie Mittoo?がガンにより他界。 1992年 ツアーではじめてヨーロッパ国内をまわる。 当時の大統領であったPJ PattersonがThe Skatalitesのファンであったこともあり、独立記念日の祭典で演奏を行う。 1996年 1月、アルバム『Hi-Bop Ska』がグラミー賞の「Best Reggae Album」部門にノーミネートされる。 1997年 1月、アルバム『Greetings From Skamania』がグラミー賞の「Best Reggae Album」部門にノーミネートされる。 1998年 5月、Tommy McCookが他界。 11月、Rolando Alphonso?が他界。 2002年 初のワールドツアー開催。アメリカ、ヨーロッパ、メキシコ、ベネズエラ、プエルトリコ、ロシア、日本をまわる。 2008年 8月、Johnny Moore?が他界。 現在 各国でのライブやアルバム制作など、精力的に活動中。 結成時からのメンバーの中では、Lester Sterling?とLloyd Knibb?が現在も活動中。 客観的評価 1964年6月20日 ジャマイカThe STAR誌より "The hottest Ska group in town is the Ska-talites. Last Sunday at Bournemouth was the likes of which you ve never seen, with grown men prostrate at the tuffness of the sounds." （町で最も熱いスカ・グループはSka-talitesである。この前の日曜は、ボーンマス（＝イギリスの地名）でメンバーが、これまでに見たことのないタフな音で人々を圧倒していた。） 1988年4月8日 ニューヨーク・タイムズ誌より "The Skatalites were essential in the transformation of Ska -- with its obvious connection to the United States and its high speed tempos -- into Reggae." （The Skatalitesはスカがレゲエへと変形するのに不可欠な存在だった。スカはアメリカとの明白なつながりとスカのテンポの速さを持っていた。） 1994年2月24日 ローリング・ストーン誌より "Even before they became a band, the members of The Skatalites were already trendsetters on the Jamaican music scene." （バンドとして活動する以前から、The Skatalitesのメンバーは既にジャマイカ音楽の流行仕掛け人であった。） 1994年10月18日 ビルボード誌より "The Skatalites, Jamaica s supreme instrumental band." （The Skatalitesは、ジャマイカが生んだ最高のインストバンドである。） 1997年12月25日 ローリング・ストーン誌より "The Skatalites - Jamaica s answer to the Motown house band and Booker T. and the MG s combined" （The Skatalitesは、1960～70年代アメリカのソウル系のレーベルに対する、ジャマイカの回答である。） Similer Artist (Sort by Last-FM) The Specials? Desmond Dekker? Roland Alphonso? The Toasters? The Slackers? Don Drummond The Ethiopians Prince Buster Similer Artist (Sort by MP3.com) Desmond Dekker? The Specials? Don Drummond Revolutionaries? Rico? Roland Alphonso? YouTube撰 Guns Of Navarone 【2003】live at Glastonbury Festival http //www.youtube.com/watch?v=xHxEijSG7fg Latin Goes Ska 【1984】Splashin The Palace, London, UK http //www.youtube.com/watch?v=deA97R7uls0 動画をもっと見る Albums 1974 Best of Ska-Talites 1976 The Legendary Skatalites 1983 Celebration Time 1984 Live At Sunsplash 1984 With Sly & Robbie & Taxi Gang●詳細調査中 1984 Return of the Big Guns 1984 Scattered Lights 1987 Stretching Out 1988 Ska-Ta-Shots 1989 Mood For Ska 1989 Skagroove In Japan 1993 Ska Voovee 1993 McCooke s Book Ska 1993 World Famouska 1994 Liberation Ska●詳細調査中 1994 Hi-Bop Ska 1996 Greetings from Skamania 1997 Ball of Fire 1997 Freedom Sounds A Tribute to the Skatalites 1998 Latin Goes Ska 1998 The Skatalites And Don Drummond 1998 Ska Ra Van Top Sounds From Top Deck, Vol. 1 1998 Ska Boo-Da-Ba Top Sounds From Top Deck, Vol. 3 1998 Ska-ta-shot Top Sounds From Top Deck, Vol. 4 1998 Ska-Tola Top Sounds From Top Deck, Vol. 5 1998 Ska-Lternative Top Sounds From Top Deck, Vol. 6 1998 Sings Songs Ska Top Deck, Vol. 7 1998 Ska Non Stop Top Deck, Vol. 8 1999 Musical Communion 2000 Bashaka 2001 Nucleus of Ska 2001 Guns of Navarone 2002 From Paris With Love 2003 Ska Down Jamaica Way Vol.1 Ska Boo Da Ba 2004 In The Mood For Ska 2005 Kingston 11 2006 The Skatalites In Orbit,Vol.1 2006 Roots Party 2006 Le World...Ska...Skatalites 2007 On the Right Track 2007 Play Ska Collaborations 1964 Ska Authentic The Skatalites（Various Artist） 1965 This Is Jamaica Ska Various Artist 1965 The Skatalites Plus The Skatalites（Various Artist） 1967 Ska Authentic, Vol.2 Various Artist 1969 The Skatalite! Tommy McCook The Skatalites 1975 Heroes of Reggae Dub The Skatalites King Tubby? 1978 African Roots Lloyd Brevette? with The Skatalites 1989 Skatakites Featuring Jackie Opel The Skatakites, Jackie Opel? 1992 Skament Movement Lord Tanamo with The Skatalites 1993 A Tribute to the Skatalites Don Drummond,Baba Brooks?,Tommy McCook 1993 Hog in a Cocoa The Skatalites Friends 1996 Foundation Ska The Skatalites（Various Artist） 1998 Skatalites & Friends At Randy s The Skatalites Friend 1999 Tribute To Tommy The Best Of Tommy McCook And The Skatalites Tommy McCook The Skatalites 1999 Jazz in Jamaica Various Artist 1999 The Clash of The Ska Titans Laurel Aitken? The Skatalites 2000 Trilogy The Skatalites Friends 2001 Herb Dub, Collie Dub The Skatalites King Tubby? 2001 Legendary Skatalites in Dub The Skatalites King Tubby? 2001 Guns of Navarone The Best of the Skatalites The Skatalites（Various Artist） 2002 Lucky Seven The Skatalites（Various Artist） 2002 The Long Hot Summer Laurel Aitken? with The Skatalites 2002 More Celebration Time The Skatalites（Various Artist） 2002 Ska Splash The Skatalites Friends 2004 Phoenix City The Skatalites Friends 2006 Independent Ska The Skatalites（Various Artist） 2007 Anthology The Skatalites（Various Artist） **** The Birth Of Ska Various Artist As Backing Band 196* Dancing Mood? Delroy Wilson 1998 A Love To Share Top Sounds From Top Deck, Vol. 2 Jackie Opel? - Ferdie Nelson? Compilations 1980 Club Ska 67? 1991 Ska Bonanza The Studio One Ska Years 1997 Ska Island 2000 Ska Stock-Tribute To The Skatalites 7inch Ska Mania Wood And Water? 出典 公式サイト 参考リンク all music excite!Music Last FM Japan Last FM Listen!Japan mixi「skatalites」 mixi「ザ・スカタライツ」 mixi「The Skatalites」] mp3.com My Space oops wikipedia 英語版「The Skatalites」 wikipedia 日本語版「スカタライツ」
https://w.atwiki.jp/japaneseartist/pages/11.html
Ryota Matsumoto is an artist, educator, designer, cultural programmer, urban planner, and architect based in the United States and Japan. As a media theorist, he is highly recognized as the founder and progenitor of the postdigital culture. Born in Tokyo, he was raised in Hong Kong and Japan. He received a Master of Architecture degree from the University of Pennsylvania in 2007 after his studies at the Architectural Association in London and Mackintosh School of Architecture, the Glasgow School of Art in the early 90s. Over the years, he has studied with Manuel DeLanda, Vincent Joseph Scully Jr., Cecil Balmond, and Giancarlo De Carlo, among others. He collaborated with a cofounder of the Metabolist Movement, Kisho Kurokawa, and with Arata Isozaki, Peter Christopherson, and MIT Media Lab. Matsumoto has presented his work on multidisciplinary design, visual culture, and urbanism to the 5th symposium of the Imaginaries of the Future at Cornell University, the Espaciocenter workshop at TEA Tenerife Espacio de las Artes, New Media Frontier Lecture Series at Oslo National Academy of the Arts, UCI Claire Trevor School of the Arts, iDMAa Conference 2017, Network Media Culture Symposium at CCA Kitakyushu, and NTT InterCommunication Center as a literary critic and media theorist. He curated the exhibition, Posthumanism, Epidigital, and Glitch Feminism at Machida City Museum of Graphic Arts in 2020. As a composer, video producer and graphic designer, he has worked with Peter Christopherson of Coil and Throbbing Gristle for Japanese Nike commercial, his album, Form Grows Rampant, and early sessions of Amulet Edition. Matsumoto has served as the MFA lecturer at Transart Institute, University of Plymouth. He works as a research associate and senior consultant for the New Centre of Research Practice and the City of Dallas Office of Art and Culture respectively. Matsumoto is an honorary member of the British Art Network. He has been active as a guest critic on design reviews at Cornell University, Cooper Union, Columbia GSAPP, Rhode Island School of Design, and Pratt Institute. Matsumoto is the recipient of Visual Art Open International Artist Award, Florence Biennale Mixed Media 2nd Place Award, The International Society of Experimental Artists Best of Show Gracie Award, Premio Ora Prize Italy 5th Edition, Premio Ora Prize Spain 1st Edition, Donkey Art Prize III Edition Finalist, Best of Show IGOA Toronto, Art Kudos Best of Show Award, FILE (Electronic Language International Festival) Media Art Finalist, Lynx International Prize Award, Lumen Prize Finalist, and Western Bureau Art Prize Honorable Mention.He was awarded the Gold Artist Prize from ArtAscent Journal, the 1st Place Prize from Exhibeo Art Magazine, and the Award of Excellence from the Creative Quarterly Journal of Art and Design in 2015 and 2016. His work is part of the permanent collection of the University of Texas at Tyler. His work, writings, and interviews were published in Kalubrt Magazine, the University of North Carolina Wilmington Journal Palaver, Furtherfield.org, The Journal of Wild Culture, Studio Visit Magazine, Fresh Paint Magazine, H+ Magazine, International Artist Magazine, Made In Mind Magazine, Arizona State University Journal Superstition Review, Creative Review, Creative Boom, Next Nature Network, Rhizome.org, Monoskop, Carbon Culture Review, KooZA/rch, Supersonic Art, Post Digital Aesthetics (Berry and Dieter ed.), Drawing Discourse (University of North Carolina Asheville), Highlike (SEPI-SP editors), and Drawing Futures (The Bartlett UCL), among others. Matsumoto's multidisciplinary projects have been exhibited recently at Meadows Gallery University of Texas at Tyler, S. Tucker Cooke Gallery University of North Carolina Asheville, Sebastopol Center for the Arts, National Museum of Korea, CICA Museum, Van Der Plas Gallery, ArtHelix Gallery, Caelum Gallery, LAIR Gallery Lakehead University, Limner Gallery, the Cello Factory, University of the District of Columbia, Lux Art Gallery, Studio Montclair, Manifest Gallery, Center for Digital Narrative University of Bergen, Tenerife Espacio de las Artes, Art Basel Miami, ISEA International, FILE Sao Paulo, Nook Gallery, and Arts and Heritage Centre Altrincham. He had solo exhibitions at BYTE Gallery Transylvania University (2015), Los Angeles Center of Digital Art (2016), and Alviani ArtSpace, Pescara (2017).
https://w.atwiki.jp/abwiki/pages/84.html
ちょっとABとは関係のないお話 [edit] HTTPについて † Hyper Text Transfer Protocolの略。Webブラウザとサーバがやりとりする際などに使われる通信プロトコル バージョンHTTP/1.0と1.1が存在する。ここでは一応1.1ベース ↑ [edit] 準備 † まずはソケットを使った通信を読んでsendとrecvを使えるようになって頂きたい ↑ [edit] 使い方 † 初めにsendでHTTPのリクエストを送信する。続いてrecvでサーバから返事を受け取る 以上 ↑ [edit] リクエストの基本構造 † ＜メソッド＞＜HTTPバージョン＞CRLF ＜ヘッダ＞CRLF CRLF メソッドはGETとかHEADとかPUTとか。プログラムでいう所の関数名 ヘッダっていうのはメソッドの付加情報。関数の引数みたいな物です メソッドは常に一つ。ヘッダは任意の個数です。無い場合もあります 各行の終端にはCRLF（Ex"\r\n"のこと）を付け、終端には空行を付けます ↑ [edit] レスポンスの構造 † レスポンスはリクエストをsendでHTTPサーバーに送ると必ず返されrecvで受け取ることが出来ます ＜HTTPバージョン＞＜ステータスコード＞CRLF ＜ヘッダ＞CRLF CRLF ＜メッセージボディ＞ HTTPバージョンとステータスコードは送ったHTTPメソッドの実行結果で、これだけはレスポンスの先頭に必ず存在します 例 HTTP/1.1 200 OK ステータスコードは3桁の数字で表され、百の位が2なら成功、4ならクライアント側のエラー、5ならサーバ側のエラーになります 3の場合は処理を完了するために再度適切なリクエスト送信する必要がある場合を示します 1は複雑なんでパス ヘッダはメッセージボディの情報を表す部分ですがもしかしたら無い場合もあるかも メッセージボディはGETだったら対象となったリソース、POSTだったらCGIの実行結果とか ここもヘッダ部分と同様に存在しない場合がある（例：HEADメソッド） ヘッダとの間に空行がはさまっているので注意。またメッセージボディの最後にCRLFは存在しない ↑ [edit] HTTPメソッド † ↑ [edit] GETメソッド † HTTPサーバーからリソースを取得します 基本形 GET uri HTTP/1.1 Host hostname hostnameは接続するホストサーバー名です。ここのWikiだとURLのwww.2chab.netの部分です uriの部分は取得したいURLのホスト名より先の部分を指定します ２ちゃんねるのトップページを取得する例 GET / HTTP/1.1 Host www.2ch.net 本来は/index.htmlとか/の先の指定も必要なんですが、省略するとindex*（*は一字以上の文字列）を指定した事になります 略さないで書くと GET /index.html HTTP/1.1 Host www.2ch.net 成功すればレスポンスのメッセージボディ部分にGETの対象になったリソースが入っている ステータスコードは成功すれば200 OK。リソースが見つからなければ404。アクセス拒否なら403。サーバー過負荷なら503 もちろんこれ以外のステータスコードである可能性もある ↑ [edit] Rangeヘッダ † リソースに対するGETの範囲を指定するリクエストヘッダです リソースの128バイトから256バイトまで取得 Range 128-256 リソースの512バイト以降を取得 Range 512- このヘッダを含めてGETを送った場合、成功時のステータスコードは206になります 失敗した時は416（要求範囲が不正）が返されるかも ↑ [edit] If-Modified-Sinceヘッダ † リソースが指定日時より後に更新されているか調べるヘッダです 更新されていない場合はGETしません GMTで2007年5月5日午前0時以降に更新されているか調べる If-Modified-Since Sun, 5 May 2007 00 00 00 GMT このヘッダを含めてGETを送った場合、リソースが更新されていなければレスポンスには304（未更新）が返されます この場合メッセージボディはありません 更新されていれば普通に200番代のステータスコードとメッセージボディを返してきます ↑ [edit] HEADメソッド † HTTPサーバーからリソースの情報を取得します 基本形 HEAD uri HTTP/1.1 Host hostname CRLF hostname、uriはGETと同じです 成功すればリソースのヘッダだけ返ってきます（つまりHEAD=GET-メッセージボディ） ↑ [edit] POSTメソッド † HTTPサーバーに情報を送信します CGIのパラメータなんかを送信するために使う。実行結果がCGI依存なのでかなり厄介 基本形 POST uri HTTP/1.1 Host hostname Content-Type type Content-Length 25222length CRLF メッセージボディ hostname、uriはGETと同じ typeはフォームデータだけ場合はapplication/x-www-form-urlencoded 何らかのリソースを含む場合はmultipart/form-data 殆ど前者だけで事足りると思うが、アップローダーのようなリソースを受け付けるCGIは後者を利用する lengthは後に続くメッセージボディの長さ メッセージボディはapplication/x-www-form-urlencodedの場合 変数名1=値1 変数名2=値2... のように変数名と値を=で結んだ物を を区切りとして羅列する。変数名も値もURLエンコードされていなければならない multipart/form-dataは大変なので省略 成功すれば二百番台のステータスコードを返す リソースが既に生成されている場合201を返す（見たこと無いけど） ↑ [edit] GETでPOSTする † サーバーに情報を送信する時はPOSTを使うべきだが、極少量のデータであればGETでも送れる 基本形 GET uri?メッセージボディ HTTP/1.1 Host hostname CRLF uriの後に?とPOSTのとき送ったメッセージボディをつける。やはりURLエンコード必須 Content-TypeとContent-Lengthはいらない
https://w.atwiki.jp/touhoukashi/pages/5088.html
【登録タグ I U.N.オーエンは彼女なのか？ pikapika 恋・罠・虹フランドール 曲 飛花】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*