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Subjects-Computers&Internet-General? Subjects-Science-General The Early Middle Pleistocene in Europe Proceedings of the Seqs Cromer Symposium, Norwich, U.K., 3 - 7 September 1990 Aa Balkema? Charles Turner? AaBalkema? CharlesTurner? Substores-UnknownASINs-55? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Geology? Subjects-Science-EarthSciences-Geology-General? Subjects-Science-Evolution-Paleontology-General? Subjects-Science-General Palaeohistoria Acta Et Communicationes Instituti Bio-Archaeologici Universitatis Groninganae/1990 Aa Balkema? AaBalkema? Substores-UnknownASINs-55? Subjects-Nonfiction-SocialSciences-Archaeology-General? Subjects-Science-Evolution-Paleontology-General? Subjects-Science-General Subjects-Science-Archaeology-General? Brittle Failure of Rock Materials Test Results and Constitutive Models Aa Balkema? George E. Andreev? AaBalkema? GeorgeE.Andreev? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-55? 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Rivals of Aether 機種：PC,Xbox1,NS 作曲者：flashygoodness 発売元：Dan Fornace LLC 発売年：2017 概要 ゲームボーイ版スマブラこと『Super Smash Land』を製作したDan Fornace氏開発のインディーズゲーム。 『Super Smash Land』と同様2Dドットによる4人同時対戦アクションだが、キャラは全てオリジナルとなっている。 DLC追加キャラクターとして『オリとくらやみの森』のオリが参戦している。 さらにDLC追加キャラクターとして『Shovel Knight』のショベルナイトも参戦。 2020年9月24日にNS版が『Definitive Edition』として配信開始された。 新たなモードが導入されているほか、DLCキャラクターが最初から追加されている。 音楽は『Super Smash Land』にも関わったflashygoodness氏が作曲。 当然版権曲は使われていないが、全曲flashygoodness氏のオリジナルなのでファンの方なら要チェック。 なお引き続き『天国の塔』のステージが登場するので「Luna Ascension」のアレンジだけは続投している。 『Definitive Edition』では新たな楽曲の追加と同時に、既存の4曲がアレンジ版に差し代わっている。 また、『Grid Defender 2』の「Neon Universe」や『Pause Ahead』の「Nihil Descent」などの、過去に同氏が手掛けた楽曲のセルフアレンジが収録されている。 2022年2月3日に大型無料アップデートが配信。 Steamワークショップから選ばれた4人の新キャラクター参戦と共に、新たな楽曲も「Expansion Tracks」として追加された。 作曲・編曲にサウンドチームRESOFORCE(flashy氏に加え、raphaelgoulart氏、Rafael Langoni氏)が加わり、flashygoodness氏との連名になっている。 収録曲(サウンドトラック順) 曲名 作・編曲者 補足 順位 Opening Movie flashygoodness 『DE』でアレンジ版に変更 Main Menu Fighter Select Customization Fighter Select 2 『DE』追加曲 Fighter Select Final 『DE』追加曲 World Map Fiery Ambitions Fire Capitol『DE』でアレンジ版に変更 Fight and Flight Air Armada『DE』でアレンジ版に変更 The Earthen Division Rock Wall『DE』でアレンジ版に変更 Oceanic Breeze Merchant Port Sylvan Radiance Treetop Lodge Moonlight Inferno Blazing Hideout Lightning Pandemonium Tempest Peak Glacial Bastion Frozen Fortress Elusive Master of Toxin The Swampy Estuary Fire's Last Hope Neo Fire Captial Howl of the Forest The Forest Floor Full Steam VENGEANCE!! Julesvale Formless Onslaught The Endless Abyss The Earthen Division (Main Event ver.) CEO Ring Luna Ascension EX Tower of Heaven 2017年70位第2回掘り出し90位 Neon Universe EX The Tutorial Grid『DE』追加曲「Neon Universe」のアレンジ 2020年216位第2回掘り出し13位アレンジ240位 LOVERS Encore Aether High『DE』追加曲 Team Select ~ Tetherball 『DE』追加曲 Tetherball Versus 『DE』追加曲 Tutorial Start Tutorial Session Tutorial Clear Conflict Sorrow Anomalous Eldritch Crisis Restoration Decisive Encounter Aetheral Gates VS Stage Clear Chapter Conclusion Game Over Decisive Encounter (Omega ver.) Aetheral Gates 2017年194位 Final Chapter Complete Nihil Redux Frozen Gates『DE』追加曲「Nihil Descent」のアレンジ Nihil Redux (Omega ver.) Frozen Gates『DE』追加曲「Nihil Descent」のアレンジ Worldbuilders 『DE』追加曲 Abyss Results Victory - Zetterburn Victory - Orcane Victory - Wrastor Victory - Kragg Victory - Forsburn Victory - Maypul Victory - Absa Victory - Etalus Victory - Ranno Victory - Clairen Victory - Sylvanos Victory - Elliana Match Results 「Special Tracks」収録 Ori and the Blind Forest Medley 作：Gareth Coker編：flashygoodness The Spirit TreeDLC追加曲『Ori and the Blind Forest』のメドレーアレンジ Victory - Ori and Sein DLC追加曲 Shovel Knight Medley 作：Jake Kaufman編：flashygoodness Troupple PondDLC追加曲『Shovel Knight』のメドレーアレンジ 2018年311位 Victory - Shovel Knight DLC追加曲 In the Halls of the Usurper (Rivals ver.) Pridemoor Keep『DE』追加曲「In the Halls of the Usurper」のアレンジ 「Expansion Tracks」収録 Embers of a Burning Dystopia flashygoodnessRESOFORCE Neo Blazing Rail The King of Onsen Highdive Hideaway Dazzling Dark Future Neo Julesvale 2022年365位 Luminous Impactor Crystal Oasis Tactical Evolution EX Diamond Grove『Creatures of Aether』より「Tactical Evolution」のアレンジ Victory - Mollo Victory - Hodan Victory - Pomme Victory - Olympia サウンドトラック Rivals of Aether Original Soundtrack Rivals of Aether (Special Tracks) DLC追加曲が収録。 FM TRACKS Lovers of Aether 作曲者本人によるFM音源アレンジサントラ。 PV
https://w.atwiki.jp/sucratti/pages/15.html
objects I know scratch-000 {"scratch team"} scratch team Danger {-50} 5600 {danger object} https //scratch.mit.edu/users/Scratchteam/ The scratch team that started with https //scratch.mit.edu/users/ScratchCat/ Mr. {scratch-000-jp}. At first, it was respected by people, but on July 29, 2010, in scratch, https //scratch.mit.edu/users/124scratch/ (scratch-033) was called the Pac-Man case. , And Namco Bandai also moved, and it was the case that caused the most damage in color {scratch. } And on December 1, 2019, like the Pac-Man case, we decided to develop a function color (# 3B4EF0) {account block} that can block users immediately, but since there was no major damage recently, https //scratch.mit.edu/users/example_User/ color (# F54738) {blocked as a laboratory table} Then from around, color (# 3B4EF0) {"I'm doing nothing wrong It's too bad to block without it. "} And the scratch team said that instead of blocking only when a big incident occurred, translating anti-comments into English twice would be bad news. That's why I started to block, and after a while, the scratchers became stressed, anti-comments increased, and scratch became difficult. (It seems that even "Thank you" has been blocked) Then, from the gentle [super safe], he turned into a dangerous object. approach Do not anti-comment. That's it. You have to be scared every time you make a comment. (The wiki is okay.) scratch-001 bold () {ibukiy} https //scratch.mit.edu/users/ibukiy/ Risk 31 {nomal} Common people. The person who created this wiki. approach Work ★ and 💖 Press to make you happy ry ((beat) scracch-002 https //scratch.mit.edu/users/ceebee/ bold () {ceebee (scratch team)} Danger 10 {safe} It's a scratch team, but it doesn't seem to be involved. approach it's not there. With scratch-000. scratch-003 bold () {ringoumai} Danger 1300 {Dangerous Object} https //scratch.mit.edu/users/ringoumai/ Dangerous person who created the ultra-short anime anti (collecting antis and vandalizing "dangerous @scratcherwiki") Also, he said that he would finally crush it into a super short animation. approach Don't talk about ultra-short anime. I don't get involved. scratch-004 bold () {example_user} https //scratch.mit.edu/users/example_user/ Danger s () {1750 [Dangerous Object]} -10 [super safe] At first, he was slandered by scratcher because of the scratch team. [See scratch-000 for details] I knew that, and I knew that I was an ordinary person. So it was changed from dangerous object to "super safe". Countermeasures s () {Relieved because it is a dangerous object. } Absent. scratch-005 bold () {sab_pg} Risk 50 [nomal] https //scratch.mit.edu/users/sab_pg/ sab_pg created a rapidly rising project called "Ultra Short Anime", and the number of followers increased rapidly. However, the remarks made by bold () {rigoumai [scratch-003] reduced the popularity. } I asked ringoumai why he hates ultra-short animation at the dangerous scratcher @ wiki, and the reason is color (# FFE921) It seems to be {promotion}. Certainly, promotion should not be done based on the community guidelines. Therefore, the risk level became [nomal]. approach Say to sab_pg bold () {moderate promotion}. (Respect the feelings of Mr. scratch-003.) I don't say that scratch-003 said "finally crush". I won't talk about this wiki. (It is a matter of course) scratch-006 bold () {omowakamochiii} Danger -100 [super safe] https //scratch.mit.edu/users/omowakamochiii/ I mean, it's kind to me! usually! approach There is no such thing ry ((beat) scratch-007 bold () {anmonaitosan} Danger 3000 [Dangerous Object] https //scratch.mit.edu/users/anmonaitosan/ Like scratch-003, this guy is a person who gathered anti-short animation antis and trolled Abunai scratcher @ wiki. approach Not involved. that's all. scratch-008 bold () {osetinnko} https //scratch.mit.edu/users/osetinnko/ Danger 8500 [Dangerous Object] It's just the bottom story. It seems that he is also saying abusive words to Mr. ninnikuman [scratch-248]. approach Do not lock on. scratch-009 Danger 8500 [Dangerous Object] https //scratch.mit.edu/users/wwwhhhaaa/ bold () {wwwhhhaaa} It seems to be a sub-dirt of scratch-008. It seems that he is also ranting here. approach Do not lock on. scratch-010 bold () {nekopyon} Danger s () {-50 [supersafe]} 100 [nomal] https //scratch.mit.edu/users/nekopyon/ Formerly the number one follower in Japan. But it was blocked. The reason is that the sub-dirt of scratch-010 called hekopyon [scratch-1500] was blocked. [It seems that it was a block that will be released in about a week] However, scratch-010 ignored the account block and avoided the block [I was doing scratch during the block period]. So bold () {blocked indefinitely. (This wiki has been blocked indefinitely, or if blocked, it increases the risk, so it was raised.)} approach It became a block indefinitely, but there are voices saying that it has returned to its original state, so I will not spread about Mr. nekopyon. Encourage Mr. nekopyon. [Reduce the risk when unblocked] scratch-011 bold () {mikeneko10 [Deleted]} https //scratch.mit.edu/users/mikeneko10/ Danger 4000 [Dangerous Object] This is a rear friend of scratch-001-JP. https //scratch.mit.edu/users/sisiza/ [scratch-1048] Was bullied as scratch-001-JP. BAN approach He may also appear, so if you're bullying scratch-1048, look at it as scratch-011. scratch-033 bold () {124scratch} Danger 9999 (scratch cause object) https //scratch.mit.edu/users/124scratch/ As mentioned in scratch-000, he is the culprit who caused the Pac-Man case. Even if I opened turbowarp, an error (?) Occurred. (A work in which an error (?) Occurs.) https //turbowarp.org/1174868 The work next to the scratch opus number 1174868 is said to have been damaged. (It seems that he was told that it was a work next to Pac-Man!) approach Think of someone. comment 名前
https://w.atwiki.jp/alstotatakau/pages/35.html
鑑別診断 ALSには様々な類似疾患が存在し、診断の際にはこれらを除外することが重要となる。 日本神経学会が出しているALS治療ガイドライン2002の中では、「症候から筋萎縮性側索硬化症と鑑別診断が必要な病態」として様々な疾患が挙げられている。 以下に代表的な疾患を列挙した。 脳梗塞 脳の血管障害のひとつで、脳の血管が詰まることで血液が流れなくなるため、その先の脳細胞に酸素や栄養素が届かず、脳細胞が壊死する。 脳梗塞の症状は、以下のようになっており、これらが突然、あるいは少しずつ進行する。 ― 手足の片麻痺 ― ろれつが回らなくなったり言葉がうまく出なくなる ― まっすぐ歩けなくなる ― ぼんやりする 脳梗塞は頭部MRIやCTで病変部を確認することができる。 脳腫瘍 脳にできる腫瘍で、様々な種類があり、色々な部位に発生するため、症状も一様ではないが、発生部位によって局所症状として視野欠損や難聴、運動麻痺、言語障害などを伴うことがある。 これも、頭部MRIやCTなどの画像で確認することができるものが多い。 球脊髄性筋萎縮症（SBMA：spinobulbar muscular atrophy） Kennedy-Alter-Sung病 通常成人男性に発症する、遺伝性下位運動ニューロン疾患。 主症状として以下が挙げられる。 ―四肢近位部優位の筋力低下、筋萎縮 ―球麻痺(顔面、舌の筋力低下、筋萎縮など) また、女性化乳房など軽度のアンドロゲン不全症や耐糖能異常、高脂血症などを合併することもある。上位運動ニューロン徴候はみられない。 本症の臨床診断は、遺伝歴が明確で、特徴的な神経筋症候及び、女性化徴候を呈していれば比較的容易であるが、これらが不明瞭で鑑別診断が困難な場合も少なくない。血液検査でのCK高値、筋電図での高振幅電位などの神経原性変化、あるいは筋生検での慢性の神経原性などの検査所見が診断の参考となる。 確定診断のためには、遺伝子診断によりアンドロゲン受容体遺伝子内CAGリピート数の異常伸長の有無を調べることが必要となる。 （http //www.nanbyou.or.jp/sikkan/017_i.htm参考） 平山病（若年性一側上肢筋萎縮症） 20 歳前後の若い男性に多く，前腕，手の筋萎縮，姿勢時振戦をみる。 数年で進行は停止する。頸部過屈曲の反復による下部頸髄の微小外 傷による良性の病態と考えられる。 （http //www.neurology-jp.org/guidelinem/neuro/als/als_03.pdf参考） 慢性炎症性脱髄性多発根神経炎 (CIDP：chronic inflammatory demyelinating polyradiculoneuropathy) 対称性に運動、感覚が侵される多発性根神経炎で、上下肢の遠位部または近位部に脱力と感覚障害が起こる。 症状としては、以下のようになる。 ―四肢の健反射の消失あるいは低下 ―左右対称性の手足の脱力や筋力低下 ― 足に力が入らなく、転びやすい ― 手の脱力のため物をうまくつかめない ―感覚障害 ― 手足のしびれ ― ピリピリする痛み 時に脳神経も障害され、舌・咽頭節麻痺、顔面節麻痺、ごく稀に呼吸麻痺がおこることもある。 検査所見としては、下記のようになる。 脳脊髄液（CSF）：軽度の蛋白増加を認め、時に軽度のリンパ球増加を伴うこともある。 電気生理学的検査：運動神経の伝導速度の遅延がある。 神経生検：炎症細胞浸潤と脱髄、オニオンバルブ形成、軸索変性が見られる。 ALSでは感覚障害は通常起こらないため、鑑別診断の際に重要な所見となる。また、伝導速度の遅延もALSでは起こらない。 Lewis-Sumner病 (Multifocal motor neuropathy with conduction block) 全身の末梢神経が慢性的に障害され、進行性に筋力低下が進行する疾患。 CIDPと異なり、感覚障害を生じないのが特徴で、ALSと非常に良く似ているが、ALSと異なり、髄液検査でタンパクの上昇、神経伝導速度検査でconduction blockなどの特徴的な異常を認める。 また、免疫グロブリン大量療法、免疫吸着療法などの治療が行われる。 頸椎症性脊髄症（cervical spondylotic myelopathy） 頸椎の変形（頸椎症）に伴い、変形した骨や軟骨が脊髄を圧迫し、ALSと同様に四肢の筋力低下などをきたす。 ALSに比較し、しびれなどの感覚障害、膀胱直腸障害（尿や便がでにくいなど）を伴う場合が多いのが一般的。逆に、顔面や首の筋力低下や嚥下障害、呼吸機能障害を認めることはほとんどない。 画像診断が有効で、頸椎MRIで、頸髄の圧迫・変性が認められることにより診断される。 治療として椎弓形成術などの手術を行う。
https://w.atwiki.jp/matchmove/pages/67.html
Pre-Solve Tracker Checking 解析前のトラッカーチェック 訳者注）グラフのポイントはVelocity Spikes（速度スパイク）を見つけることにあるようです。 トラッカーが途中で間違ったものを追ってしまった場合、一瞬にして別の場所へ移動します。トラッカーの移動速度が一瞬上がるわけです。これを見つけだすことで不正なトラッカーを見つけだすことができます。 （以下本文） 手動トラッキングをしているとき、十分なトラッカーがショットを通して配置できていることを確認するために、ショットを解析し始める前に定期的にトラッカーをチェックしなければなりません。 ショットを解析し始める前、自動トラッキングの後にも、トラッカーをチェックすることができます。 （単純なショットの場合、自動トラッカーでトラッキングから解析までを直接行うことができます。） このセクションは、解析する前にトラッカーを検査する方法を記載します。 SynthEyesGraph Editorを紹介します。 解析した後に、clean-up toolを含む、他のテクニックとツールを利用できます。 Tip：以下のツール・ティプスの内、自動トラッカーは灰色、 手動トラッカーは金色の背景が表示されます。 Checking the Tracker Trails トラッカー・テイルをチェックする 以下の手順は、問題あるトラッカーと状態（例えば、あまりに役に立つトラッカーが少ないフレームなど）を直ぐにチェックする方法です。 1. カメラ・ビューへ移動してください 2.メインまたは右クリック・メニューで、View/Show Imageをオフにしてください。 3.ショットのタイム・バー上で、クリック ドラッグで左右にマウスを動かし(スクラブし)、以下を探してください ・多くのトラッカーがないイメージの領域 ・全イメージが多くのトラッカーを持っていないショットの部分 ・他と違った方向に動いているトラッカー 4. メインまたは右クリック・メニューでView/Show tracker trailsをオンにしてください。 5. ショットのタイム・バー上でスクラブし、以下を探してください ・トラックの始まりか最後のおかしいフック（特に画像の端で現れます） ・テイルが不連続にジグザグしているもの。 イメージなしの方がモーション・パスを分析しやすいはずです。おそらく、イメージ自体によって惑わされないからです。 このプロセスは、問題の多いショット(低いパースペクティブによるショット、三脚で突然撮られたショット、若干のドリーまたは揺れている三脚ショット、中央のどこかに少しズームがあるショット)の性質を決定するのに有効です。 Checking Tracker Lifetimes Graph Editorのトラックビューでショットを通してフレーム毎にどのくらい多くのトラッカーが有効か概要をみることができます。 graph editorはツールバーのボタンを使用してフローティングウインドウにすることができます。また、それは、それ自体によるビューポートとして、または、他のビューポート構成の一部とにすることができます。 グラフ・エディタを開けたあと、以前に再生していたならば、それがトラック・ビューであることを確認してください。 ショットが手動トラッキングであるならば、アルファベットソートからタイムソートにしてください。 ウインドウの大きさを変更したならば、横スケーリングもリセットしてください。 次にパネルの右下ののボタンをクリックします。選択すると、トラッカーカウントバックグラウンドが見えている状態で、キーが消え、グラフが圧縮されます。グラフエディタはこのようにみえるはずです。 各バーは一つのトラッカーに対応しています。 Tracker4は選択されていて、強調されています。 色分けされたバックグラウンドは、トラッカーの数が、左で問題が多く、中央はOKで、右で安全を示します。 あなたは好きに、セーフレベルを構成できます。 このレベル(デフォルト12)を超えると、バックグラウンドは白くなるでしょう(グレーを暗いUI設定にしてください)。 しかし、セーフレベルを下回ると、バックグラウンドは Ok の、緑色の明るい色合いになるでしょう。 トラッカーの数はOKですが、希望するセーフレベルに達するほど高いわけではありません。 この圧縮された画面はトラッカーがショットの間中どう分配されているかにおける素晴らしいクイック・ルックを与えます。 色分けは三脚台モードショットと保持領域があるショットにより異なります。 ウェイトが0のトラッカーは数えません。 Hint When the graph editor is in graph mode, you can look at a direct graph of the number of valid trackers on each frame by turning on the #Normal channel of the Active Trackers node. If there are unavoidably too few trackers on some frames, you can use the Skip Frames track on theFeature Control Panel to proceed. The graph editor is divided into three main areas a hierarchy area at top left, a canvas area at top right, and a tool area at the bottom. You can change the width of the hierarchy area by sliding the gutter on its right. You can partially or completely close the tool area with the toolbox at left. A minimal view is particularly handy when the graph editor is embedded in a viewport layout. In the hierarchy area. you can select trackers by clicking their line. You can control-click to toggle selections, or shift-drag to select a range. The scrollbar at left scrolls the hierarchy area. You can also select trackers in the canvas area in squish mode, using the same mouse operations as in the hierarchy area. The icons next to the tracker name provide quick control over the tracker visibility, color, lock status, and enable. Warning you can not change the enable, or much else, of a tracker while it is locked! The small green swatch shows the display color of a tracker or mesh. Double-clicking brings up the color selection dialog so you can change the display color. You can shift-click a color, and add all trackers of that color to the current selection, control-click the swatch of an unselected tracker to select only trackers of that color, or control-click the swatch on a selected tracker to unselect the trackers of that color. Jumping ahead, the graph editor hierarchy also shows any coordinate-system lock settings for each tracker x, y, and z for the respective axis constraints; l (lower-case L) when there is a linked tracker on the same object; i for a linked tracker on a different object (an indirect link); d for a distance constraint; 0 for a zero-weighted tracker; p for a pegged tracker; F for a tracker you specified to be far; f for a tracker not requested to be far, but solved as far for cause. Introduction to Tracker Graphs The graph editor helps you find bad trackers and identify the bad portions of their track. The graph editor has a very extensive feature set that we will begin to overview; for full details see thegraph editor reference. We won’t get to the process of how to find the worst ones until the end of the section, when you understand the viewport. To begin, open the graph editor and select the graphs mode. Selecting a tracker, or exposing its contents, causes its graphs to appear. In this example, a tracker suddenly started jumping along fence posts, from pole to pole on three consecutive frames. The red curve is the horizontal U velocity, the green is the vertical V velocity, and the purple curve is the tracker figure-of-merit (for supervised trackers). You can see the channels listed under Tracker15 at left. The green circles show which channels are shown; zoom, pan, and color controls are adjacent. Double-clicking will turn on or off all the related channels. There are a variety of different curves available, not only for the trackers but for other node types within SynthEyes. The graph editor is amult-curveeditor—any number of completely different kinds of curves can be displayed simultaneously. There is no single set of coordinate values in the vertical direction because the zoom and pan can be different for each kind of channel. To determine the numeric value at any particular point on a curve, put the mouse over it and the tooltip will pop up with the set of values. The graph editor displays curves for each node that is exposed (its channels are displayed; Enable, U. Vel, V. Vel, etc above). The graph editor also displays curves for all selected nodes (trackers, cameras, or moving objects) as long as theDraw Curves for Selected Nodesbutton is turned on. This gives you quite a bit of quick control over what is drawn, and enables you to compare a single tracker or camera s curves to any other tracker as you run through them all, for example. You zoom a channel by dragging the small zoom icon. The zoom setting is shared between all channels with the same type. For example, the U and V velocity channels are the same type, as are the X, Y, and Z position channels of the camera. But the U velocity and U position are different types. If you click on the small Zoom icon, the other zoom icons of the same type will flash. The zoom setting is also shared between nodes of the same type zooming or panning on one tracker affects the other trackers too. All related channels will zoom also, so that the channels remain comparable to one another. This saves time and helps prevents some incorrect thought patterns. The pan setting is also shared between nodes, but not between channels the U velocity and V velocity can be separated out. When you pan, you’ll see a horizontal line that is the “zero level” of the channel. It will snap slightly to horizontal grid lines, making it easier to make several different curves line up to the same location. You can later check on the zero level by tapping the zoom or pan icons. There are two kinds of auto-zooms, activated by double-clicking the zoom or pan icons. The zoom double-click auto-zooms, but makes all channel of the same type have the same zero level. The pan double-click auto-zooms, but pans the channels individually. As a result, the zoom double-click keeps the data more organized and easier to follow, but the pan double-click allows for a higher zoom factor, because the zero levels can be different. For example, consider zooming an X position that runs 0 to 1, and a Y position that runs 10 to 12. If we pan double-click, the X curve will run full-screen from 0 to 2, and Y will run full-screen from 10 to 12. Note that X is not 0 to 1, because it must have the same zoom factor as Y. X will only occupy the bottom half of the screen. If we zoom double-click, X will run from 0 to 12 full screen, and Y will run from 0 to 12 full screen. The range and zero locations of both curves will be the same, and we’ll be better-able to see the relationship between the two curves. But if we want to see details, the pan-double-click is a better choice. There is no option to have X run 0 to 1 and Y run 10 to 12, by design. Both zoom and pan settings can be reset by right-clicking on the respective icons. Interpreting Figure of Merit In this example, two trackers have been supervised-tracked with a Key Every setting of 20 frames (but starting at different frames). The tracker Figure of Merit (FOM) curve measures the amount of difference between the tracker s reference pattern and what is found in the image. You see it drop down to zero each time there is a key, because then the reference and image are the same. One tracker has a small FOM value that stays mostly constant. The other tracker has a much larger FOM, and in part of the shot it is much larger. In a supervised shot, the reason for that should be investigated. You can use this curve to help decide how often to place a key automatically. The 20 frame value shown above is plenty for those features. If you see the following, you should reduce the spacing between keys. You’ll also be able to see the effect of theKey Smoothsetting the key smoothing will flatten out a steadily increasing curve into a gently rounded hump, which will reduce spikes in the final camera path. Velocity Spikes Here s an example of a velocity curve from the graph editor At frame 217, the tracker jumped about 3 pixels right, to a very similar feature. At frame 218, it jumped back, resulting in the distinctive sawtooth pattern the U velocity curve exhibits. If left as-is, this spike will result in a small glitch in the camera path on frame 217. You can repair it using theTracker control panel in the main user interface by going to frame 217. Jiggle back and forth a few frames with the S and D keys to see what s happening, then unlock the tracker and drop down a new key or two. Step around to re-track the surrounding frames with the new keys (or rewind and play through the entire sequence, which is most reliable). DeGlitch Mode You can also repair the glitch by switching to the Deglitch mode of the graph editor, then clicking on the first (positive) peak of the U velocity at frame 217. SynthEyes will compute a new tracker location that is the average of the prior and following locations. For most shots, this will eliminate the spike. If you see a velocity spike in one direction only, it will be more difficult to correct it means that the tracker has jumped to a nearby feature, and not come back. You will have to put it back in its correct location and then play (track) through the rest of the shot. The deglitch tool can also chop off the first or last frame of a tracker, which can be affected when an object moves in front, or a feature is moving offscreen. Even if the last two or three frames are bad, you can click a few times and quickly chop them off. Finding Spikes Before Solving Learn to recognize these velocity spikes directly. There are double spikes when a tracker jumps off course and returns, single spikes when it jumps off course to a similar feature and stays there, large sawtooth areas where it is chattering between near-identical features (or needs a new position key for reference), or big takeoff ramps where it gets lost and heads off into featureless territory. To help find these issues, the graph editor features the Isolate mode. Left-click it to turn it on, then right-click it to select all the trackers (it does not have to be on for right-clicking to work). With all the trackers selected, you will usually see a common pattern for most of the trackers, plus a few spots where things stick out. If you click the mouse over the spikes that stick out, that tracker will be selected for further investigation. You can push the left button and keep it down and move around investigating different curves, before releasing it to select a particular one. It can be quicker to delete extra automatic trackers, rather than repairing them. After repairing each tracker, you can right-click the isolate button again, and look for more. With two monitors, you can put the graph editor on one, and the camera view on another. With only one monitor, it may be easiest to operate the graph editor from the Camera Graphs viewport configuration. Once you are done, do arefine-mode solving cycle. Hint You can stay in Deglitch mode, and temporarily isolate by holding down the control key. This gives a quick workflow for finding and repairing glitches.
https://w.atwiki.jp/vocaloidenglishlyric/pages/347.html
【Tags Kurousa-P Miku tT S tA】 Original Music title 千本桜 English music title One Thousand Cherry Trees / A Thousand Cherry Trees Romaji music title Senbon-akura / Senbon-zakura / Senbon Zakura Music Lyrics written, Voice edited by 黒うさP(Kurousa-P) Music arranged by 黒うさP(Kurousa-P) Singer 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by blacksaingrain)： Intrepidly raising a plush revolution Free and easy, an antiwar country Peddling a bicycle marked with the Rising Sun Exorcising evil spirits Running through ring roads Always busy to be on the move, no big deal Boys and Girls, being incomparably strong in warring states As the way this transient world goes round A thousand of cherry trees are under cover of night Your voice cannot even reach This is a feast, a steel cage Look down from the guillotine Darkness of Eternal World, Buddhist Cosmology A wailing song cannot even be heard Far away is the indigo blue sky Shoot out with the raygun Looks like a battled-hardened army officer Going and coming on the way of Oiran This guy, that guy, everyone, close in! It s a march of saints One, two, three, four Passing through the gate of Zen Land of Bliss, ceremonial cleansing from evil influence Surely the curtain will be drawn with a happy ending Between applause A thousand of cherry trees are under cover of night Your voice cannot even reach This is a feast, a steel cage Look down from the guillotine Darkness of Eternal World, Buddhist Cosmology A wailing song cannot even be heard Far away is the hill of hope Set off the flash bang Running through ring roads Always busy to be on the move, no big deal Boys and Girls, being incomparably strong in warring states As the way this transient world goes round A thousand of cherry trees are under cover of night Your voice cannot even reach This is a feast, a steel cage Jump off the guillotine A thousand of cherry trees are under cover of night You sing and I dance This is a feast, a steel cage Now, shoot up the raygun English Lyrics (translated by animeyay)： After a bold and audacious Westernization revolution, this is now an open and upright anti-war nation. As I pedal forward my bicycle marked with the Japanese flag, evil spirits will disperse from my intercontinental ballistic missiles. Looping the belt line, I don t care if I m constantly on the move. Boys and girls must be unrivaled during the warring era, in the floating world. Thousands of cherry trees dissolve into the night. Not even your voice will reach. This is a banquet inside a steel jail cell. Look down on us from your guillotine. The whole world is shrouded in hellish darkness. Not even a lamenting song is audible. With your raygun, shoot out the azure sky and the far distance. Hundreds of fights will give one the apperance of an officer. The courtesans are going here and there on a parade for their regular guests. Everyone, assemble here now. It s a march of the saints. One! Two! Three! Four! To pass through the gate to dhyāna[1], and achieve nirvana with cleansing, the closing act must be a happy finale, accompanied by applause from the audience. Thousands of cherry trees dissolve into the night. Not even your voice will reach. This is a banquet inside a steel jail cell. Look down on us from your guillotine. The whole world is shrouded in hellish darkness. Not even a lamenting song is audible. The hill of hope is in the far distance, so shoot up your flashlight grenade. Looping the belt line, I don t care if I m constantly on the move. Boys and girls must be unrivaled during the warring era, in the floating world. Thousands of cherry trees dissolve into the night. Not even your voice will reach. This is a banquet inside a steel jail cell, so jump off from your guillotine. Singable English Lyrics (by kran117)： With a bold and sudden calling, Western Revolution s starting Let our hearts be open to it Pacifist nation Riding on a penny-farthing, it s the flag of our sun rising, Warding evil spirits like an ICBM On the train tracks, running along the line, let us move forward. Don t look behind. Boys and girls becoming like samurai just like those from our previous life Thousands of cherry blossoms dwindling in the light Though I can t hear your voice, keep what I say in mind - This bouquet that surrounds is iron poison, see, Looking down at us from that big guillotine Darkness has just engulfed the universe we know The lament that you sing can t reach ears anymore We are still far away from reaching clear blue skies Go ahead, keep shooting, with the ray gun, fight! Veterans who ve trained through struggles are now officers in battle Here and there, we see the harlots in procession This one, that one, doesn t matter, every single person gathers March on to our saintly deaths now! 1, 2, san, shi Passing through the gates on the mountain peaks, Escaping this world, kill all the evil fiends Surely this will end in a denouement Among the crowds giving their applause Thousands of cherry blossoms dwindling in the light Though I can t hear your voice, keep what I say in mind - This bouquet that surrounds is iron poison, see, Looking down at us from that big guillotine Darkness has just engulfed the universe we know The lament that you sing can t reach ears anymore We are still far away from reaching peaks of hope Go ahead, keep shooting, use the flashing bolt! On the train tracks, running along the line, let us move forward. Don t look behind. Boys and girls becoming like samurai just like those from our previous life Thousands of cherry blossoms dwindling in the light Though I can t hear your voice, keep what I say in mind - This bouquet that surrounds is iron poison, see, Leaping down to us from that big guillotine Thousands of cherry blossoms dwindling in the light Once your song can be heard, we ll dance with all our might This bouquet that surrounds is iron poison, see, Go ahead, keep shooting, with that ray gun, lead! [1] [1] dhyāna a meditative state characterized by profound stillness and concentration. Romaji lyrics (transliterated by animeyay )： daitan-futeki ni HAIKARA kakumei rairai-rakuraku hansen kokka hinomaru-jirushi no nirinsha korogashi akuryou-taisan AI-SHII-BII-EMU kanjousen o hashirinukete touhon-seisou nan no sono shounen shoujo sengoku-musou ukiyo no manima ni SENBONZAKURA YORU NI MAGIRE KIMI NO KOE MO TODOKANAI YO koko wa utage hagane no ori sono dantoudai de mioroshite SANZEN-SEKAI TOKOYO NO YAMI NAGEKU UTA MO KIKOENAI YO seiran no sora haruka kanata sono kousenjuu de uchinuite hyakusen-renma no mitame wa shoukou ittari-kitari no oiran douchuu AITSU mo KOITSU mo minna de atsumare seija no koushin wan tsuu san shi zenjoumon o kugurinukete anraku-joudo yakubarai kitto saigo wa daidan en hakushu no aima ni SENBONZAKURA YORU NI MAGIRE KIMI NO KOE MO TODOKANAI YO koko wa utage hagane no ori sono dantoudai de mioroshite SANZEN-SEKAI TOKOYO NO YAMI NAGEKU UTA MO KIKOENAI YO kibou no uta haruka kanata sono senkoudan o uchiagero kanjousen o hashirinukete touhon-seisou nan no sono shounen shoujo sengoku-musou ukiyo no manima ni SENBONZAKURA YORU NI MAGIRE KIMI NO KOE MO TODOKANAI YO koko wa utage hagane no ori sono dantoudai o tobiorite SENBONZAKURA YORU NI MAGIRE kimi ga utai boku wa odoru koko wa utage hagane no ori saa kousenjuu o uchimakure [KurousaP, whiteflame, Kurousa-P]
https://w.atwiki.jp/survivaldng/pages/31.html
”GOWAY IN THE SKY Ⅱ” １ターン目アピール 妹 ロングヘア ２ターン目アピール 謎（ミステリアス） 料理上手 ３ターン目アピール 栗色の髪 可憐 プロフィールテキスト ＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝ GOWAY！ 空に咲く一輪の花 GOWAY！ 再び羽ばたこう 傷つき、折れた翼は癒えたのなら そう、貴方でなければ行けない道（ミライ）を目指して～♪ 「アナタにしかできないことが”そこ”にある。 そうよね？ なら、勇気をもって挑みなさい。私は応援するわ！」 ＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝＝ 天空より現れた謎の超時空”転校生”アイドル（キラ☆） その名も ”GO！ WAY！ IN THE SKY！ ” つややかな栗色のロングヘア―をなびかせて 希望埼学園メイン会場に今『衝突』！ 【設定】 栗色髪の可憐な井出立ち 蒼空と桜をイメージした”春こーでー”のコスチュームに身を包んだ 謎の仮面アイドル。 二次元から滲みだしてきたような妹スマイルで、人々を魅了する。 星間飛行的何某を歌いながら、特設メイン会場に墜落してきた。 アイドル【進道ソラ】に関し、一家言あるらしく 彼女に対して 奇妙なゲルマン忍者的立ちふるまいを行う。 どこかで凄く見たことのある気もするが、たぶん他人のソラ似。 食レポと読書レビューが趣味。 付録 プロデューサーA（転校生のあんちゃん） こないだ手伝ってもらうときに迂闊にも「何でもする」約束してしまったので 約束履行のため無理やり学園イベントにつれてこられた。 変身能力があるため、バックから音響まで割となんでもできる。
https://w.atwiki.jp/kakis/pages/7635.html
xiskitkond /// / ロデオ xi\skit\kond \ 16 palsaa klel \
https://w.atwiki.jp/oper/pages/2299.html
Overture ACT I (A palace. Enter Titania, leading the Indian boy, the fairies attending) FAIRIES Come, come, come, let us leave the town, and in some lonely place, where Crowds and noise were never known, resolve to spend our days. In pleasant shades upon the grass at night our selves we ll lay; our days in harmless sport shall pass, thus time shall slide away. (Enter fairies, leading a drunkard and blinded poet) Scene of the drunken poet DRUNKEN POET Fill up the bowl, then... 1st FAIRY, CHORUS Trip it, trip it in a ring; around this mortal dance, and sing. POET Enough, enough, we must play at blind man s buff. Turn me round, and stand away, I ll catch whom I may. 2nd FAIRY, CHORUS About him go, so, so, so, pinch the wretch from top to toe; pinch him forty, forty times, pinch till he confess his crimes. POET Hold you damn d tormenting punk, I do confess... FAIRIES What, what... POET I m drunk, as I live boys, drunk. FAIRIES What art thou, speak? POET If you will know it, I am a scurvy poet. FAIRIES Pinch him, pinch him for his crimes, his nonsense and his Dogrel rhymes. POET Hold! Oh! Oh! Oh! FAIRIES Confess more, more. POET I confess I m very poor. Nay prithee do not pinch me so, good dear devil let me go; and as I hope to wear the bays, I ll write a sonnet in thy praise. FAIRIES Drive em hence, away, away, let em sleep till break of day. First act tune Jig ACT II (A wood, by moon-light. Enter Titania and her train. While the fairies dance the scene changes to a prospect of grotto s, arbors, and delightful walks; the arbors are adorn d with all variety of flowers, the grotto s supported by terms, these lead to two arbors on either side of the scene, of a great length, whose prospect runs toward the two angles of the house. Between these two arbors in the great grotto, which is continued by several arches, to the farther end of the house) Prelude and song Come all ye songsters of the sky, wake, and assemble in this wood; but no ill-boding Bird be night, none but the harmless and the good. Prelude CHORUS May the god of wit inspire, the sacred nine to bear a part; and the blessed heavenly quire, shew the utmost of their art. While Eccho shall in sounds remote, repeat each note, each note, each note. (Then a composition of instrumental music, in imitation of an eccho.) Eccho CHORUS Now join your warbling voices all. (Then a fairy dance) A dance of fairies Song and Chorus Sing while we trip it on the green; but no ill vapours rise or fall, nothing offend our fairy queen. (Titania leaves down. Enter Night, Mystery, Secresie, Sleep, and their attendants.) NIGHT See, even night her self is here, to favour your design; and all her peaceful train in near, that men to sleep incline. Let noise and care, doubt and despair, envy and Spight, (the fiends delight) be ever Banish d hence, let soft repose, her eye-lids close; and murmuring streams, bring pleasing dreams; let nothing stay to give offence. MYSTERY I am come to lock all fast, love without me cannot last. Love, like counsels of the wise, must be hid from vulgar eyes. Tis holy, and we must conceal it, they profane it, who reveal it. SECRESIE One charming night gives more delight, than a hundred lucky days. Night and I improve the tast, make the pleasure longer last, a thousand, thousand several ways. SLEEP Hush, no more, be silent all, sweet repose has clos d her eyes. Soft as feather d snow does fall! Softly, softly, steal from hence. No noise disturb her sleeping sence. A dance for the followers of Night (Oberon squeezes the flowers on Titania; Lysander and Hermia fall asleep.) ACT III (Enter Titania, Bottom and fairies. The scene changes to a great wood, a long row of large trees on each side; a river in the middle, two rows of lesser trees of a different kind just on the side of the river, which meet in the middle, and make so marry arches, two great dragons make a bridge over the river, their bodies form two arches, through which two swans are seen in the river at a great distance. Enter a troop of fawns, dryads and naides) CHORUS If love s a sweet passion, why does it torment? If a bitter, oh tell me whence comes my content? Since I suffer with pleasure, why should I complain, or grieve at my fate, when I know tis in vain? Yet so pleasing the pain is, so soft is the dart, that at once it both wounds me, and tickles my heart. I press her hand gently, look languishing down, and by passionate silence I make my love known. But oh! how I m blest when so kind she does prove, by some willing mistake to discover her love. When in striving to hide, she reveals all her flame, and our eyes tell each other, what neither dares name. Symphony while the swans come forward (While the symphony s playing, the two swans come swimming on through the arches to the bank of the river, as if they would land; these turn themselves into fairies and dance; at the same time the bridge vanishes, and the trees that were arch d, raise themselves upright) Dance for the fairies (Four savages enter, fright the fairies away, and dance an entry) Dance for the green men Song Ye gentle spirits of the air, appear; prepare, and joyn your tender voices here. Catch, and repeat the trembling sounds anew, soft as her sighs and sweet as pearly dew. Run new division, and such measures keep, as when you lull the god of love asleep. (Enter Coridon and Mopsa) Dialogue between Coridon and Mopsa CORIDON Now the maids and the men are making of hay, we h ve left the dull fools, and are stolen away. Then Mopsa no more be coy as before, but let us merrily play, and kiss the sweet time away. MOPSA Why, how now, Sir Clown, what makes you so bold? I d have ye to know I m not made of that mold. I tell you again, maids must never kiss no men. No, no, no kissing at all; I ll not kiss, till I kiss you for good and all. CORIDON Not kiss you at all? MOPSA No, no, no kissing at all! CORIDON Why no kissing at all? MOPSA I ll not kiss, till I kiss you for good and all. CORIDON Should you give me a score, twould not lessen your store, then bid me chearfully kiss, chearfully kiss and take, and take, my fill of your bliss. MOPSA I ll not trust you so far, I know you too well; should I give you an Inch, you d soon take an ell. Then lordlike you rule, and laugh at the fool. No, no... CORIDON So small a request, you must not, you cannot, you shall not deny, nor will I admit of another reply. MOPSA Nay, what do you mean? O fie, fie, fie! Song A NYMPH When I have often heard young maids complaining, that when men promise most they most deceive, then I thought none of them worthy my gaining; and what they swore, resolv d ne re to believe. But when so humbly he made his addresses, with looks so soft, and with language so kind, I thought it sin to refuse his caresses; nature o ercame, and I soon chang d my mind. Should he employ all his wit in deceiving, stretch his invention, and artfully feign; I find such charms, such true joy in believing, I ll have the pleasure, let him have pain. If he proves perjur d, I shall not be cheated, he may deceive himself, but never me; this what I look for, and shan t be defeated, for I ll be as false and inconstant as he. Dance of Haymakers Song and chorus A thousand, thousand ways we ll find to entertain the hours no two shall e re be known so kind, no life so blest as ours. Third act tune Hornpipe ACT IV Symphony (The scene changes to a garden of fountains. A sonata plays while the sun rises, it appears red through the mist, as it ascends it dissipates the vapours, and is seen in its full lustre; then the scene is perfectly discovered, the fountains enrich d gilding, and adorn d with statues; the view is terminated by a walk of cypress trees which lead to a delightful bower. Before the trees stand rows of marble columns, which support many walks which rise by stairs to the top of the house; the stairs are adorn d with figures on pedestals, and rails; and balasters on each side of em. Near the top, vast quantities of water break out of the hills, and fall in mighty cascade s to the bottom of the scene, to feed the fountains which are on each side. In the middle of the stage is a very large fountain, where the water rises about twelve foot. Then the Four Seasons enter, with their several attendants) Solo and Chorus ONE OF THE ATTENDANTS Now the night is chas d away, all salute the rising sun; this that happy, happy day, the birth-day of king Oberon. Duet TWO OTHERS Let the fifes, and the clarions, and shrill trumpets sound, and the arch of high heav n the clangor resound. Entry of Phoebus (A machine appears, the clouds break from before it, and Phoebus appears in a chariot drawn by four horses) PHOEBUS When a cruel long winter has frozen the earth, and nature imprison d seeks in vain to be free; I dart forth my beams, to give all things a birth, making spring for the plants, every flower, and each tree. Tis I who give life, warmth, an vigour to all, even love who rules all things in earth, air, and sea; would languish, and fade, and to nothing would fall, the world to its chaos would return, but for me. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. SPRING Thus the ever grateful spring, does her yearly tribute bring; all your sweets before him lay, then round his altar sing, and play. SUMMER Here s the summer, sprightly, gay, smiling, wanton, fresh, and fair; adorn d with all the flowers of may, whose various sweets perfume the air. AUTUMN See my many colour d fields, and loaded trees my will obey; all the fruit that autumn yields, I offer to the god of day. WINTER Now winter comes slowly, pale, meager, and old, first trembling with age, and then quiv ring with cold; benum d with hard frosts, and with snow cover d o re, prays the sun to restore him, and sings as before. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. (After a short time all go out except Robin-Good-Fellow, who applies the juice of the herb to Lysander s eyes) Fourth act tune Air ACT V Prelude (While a symphony plays, the machine moves forward, and the peacocks spread their tails, and fill the middle of the theatre.) Epithalamium JUNO Thrice happy lovers, may you be for ever, ever free, from that tormenting devil, jealousie. From all that anxious care and strife, that attends a married life be to one another true, kind to her as she to you, and since the errors of this night are past, may he be ever constant, she for ever chast. (The machine aspends. After Juno s song, Oberon asks to hear the plaint of Laura for her departed love.) The plaint O let me weep, for ever weep, my eyes no more the shall welcome sleep; I ll hide me from the sight of day, and sigh, and sigh my soul away. He s gone, he s gone, his loss deplore; and I shall never see him more. (While the scene is darken d, a single entry is danded.) Entry dance (Then a symphony is play d) Symphony (After that the scene is suddenly illuminated, and discovers a transparent prospect of a Chinese garden, the architecture, the trees, the plants, the fruits, the birds, the beasts quite different to what we have in this part of the word. It is terminated by an arch, through which is seen other arches with close arbors, and a row of trees to the end of the view. Over it is a hanging garden, which rises by several ascents to the top of the house; it is bounded on either side with pleasant bowers, various trees, and numbers of strange birds flying in the air, on the top of a platform is a fountain, throwing up water, which falls into a large basin. A Chinese man enters and sings) Song A CHINESE MAN Thus the gloomy world at first began to shine, and from the power divine a glory round about it hurl d; which made it bright, and gave it birth in light. Then were all minds as pure, as those ethereal streams; in innocence secure, not subject to extreams. There was no room then for empty fame, no cause for pride, ambition wanted aim. CHINESE WOMAN Thus happy and free, thus treated are we with nature s chiefest delights. We never cloy, but renew our joy, and one bliss another invites. CHORUS Thus wildly we live, thus freely we give, what heaven as freely bestows. We were not made for labour and trade, which fools on each other impose. CHINESE MAN Yes, Daphne, in your looks I find the charms by which my heart s betray d; then let not your disdain unbind the prisoner that your eyes have made. She that in love makes least defence, wounds ever with the surest dart; beauty may captivate the sence, but kindness only gains the heart. (Six monkeys come from between the trees and dance) Monkeys dance (Two women sing in parts) 1st WOMAN Hark how all things with one sound rejoice, and the world seems to have one voice. 2nd WOMAN Hark now the echoing air a triumph sings, and all around pleas d Cupids clap their wings. CHORUS Hark! Hark! 2nd WOMAN Sure the dull god of marriage does not hear BOTH We ll rouse him with a charm. Hymen, appear! CHORUS Hymen, appear! BOTH Our Queen of Night commands thee not to stay. Appear! CHORUS Our Queen... (Enter Hymen.) Prelude HYMEN See, see, I obey. My torch has long been out, I hate on loose dissembled vows to wait, where hardly love out-lives the wedding-night, false flames, love s meteors, yield my torch no light. (Six pedestals of china-work rise from under the stage; they support six large vases of porcelain, in which six china-orange-trees.) BOTH WOMEN Turn then the eyes upon those glories there, and catching flames will on thy torch appear. HYMEN My torch, indeed, will from such brightness shine, love ne er had yet such altars, so divine. (The pedestals move toward the front of the stage, and the grand dance begins of twenty-four persons; then Hymen and the two women sing together.) TRIO They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. CHORUS They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. (All the dancers join in it.) Chaconne Dance for Chinese man and woman. Overture ACT I (A palace. Enter Titania, leading the Indian boy, the fairies attending) FAIRIES Come, come, come, let us leave the town, and in some lonely place, where Crowds and noise were never known, resolve to spend our days. In pleasant shades upon the grass at night our selves we ll lay; our days in harmless sport shall pass, thus time shall slide away. (Enter fairies, leading a drunkard and blinded poet) Scene of the drunken poet DRUNKEN POET Fill up the bowl, then... 1st FAIRY, CHORUS Trip it, trip it in a ring; around this mortal dance, and sing. POET Enough, enough, we must play at blind man s buff. Turn me round, and stand away, I ll catch whom I may. 2nd FAIRY, CHORUS About him go, so, so, so, pinch the wretch from top to toe; pinch him forty, forty times, pinch till he confess his crimes. POET Hold you damn d tormenting punk, I do confess... FAIRIES What, what... POET I m drunk, as I live boys, drunk. FAIRIES What art thou, speak? POET If you will know it, I am a scurvy poet. FAIRIES Pinch him, pinch him for his crimes, his nonsense and his Dogrel rhymes. POET Hold! Oh! Oh! Oh! FAIRIES Confess more, more. POET I confess I m very poor. Nay prithee do not pinch me so, good dear devil let me go; and as I hope to wear the bays, I ll write a sonnet in thy praise. FAIRIES Drive em hence, away, away, let em sleep till break of day. First act tune Jig ACT II (A wood, by moon-light. Enter Titania and her train. While the fairies dance the scene changes to a prospect of grotto s, arbors, and delightful walks; the arbors are adorn d with all variety of flowers, the grotto s supported by terms, these lead to two arbors on either side of the scene, of a great length, whose prospect runs toward the two angles of the house. Between these two arbors in the great grotto, which is continued by several arches, to the farther end of the house) Prelude and song Come all ye songsters of the sky, wake, and assemble in this wood; but no ill-boding Bird be night, none but the harmless and the good. Prelude CHORUS May the god of wit inspire, the sacred nine to bear a part; and the blessed heavenly quire, shew the utmost of their art. While Eccho shall in sounds remote, repeat each note, each note, each note. (Then a composition of instrumental music, in imitation of an eccho.) Eccho CHORUS Now join your warbling voices all. (Then a fairy dance) A dance of fairies Song and Chorus Sing while we trip it on the green; but no ill vapours rise or fall, nothing offend our fairy queen. (Titania leaves down. Enter Night, Mystery, Secresie, Sleep, and their attendants.) NIGHT See, even night her self is here, to favour your design; and all her peaceful train in near, that men to sleep incline. Let noise and care, doubt and despair, envy and Spight, (the fiends delight) be ever Banish d hence, let soft repose, her eye-lids close; and murmuring streams, bring pleasing dreams; let nothing stay to give offence. MYSTERY I am come to lock all fast, love without me cannot last. Love, like counsels of the wise, must be hid from vulgar eyes. Tis holy, and we must conceal it, they profane it, who reveal it. SECRESIE One charming night gives more delight, than a hundred lucky days. Night and I improve the tast, make the pleasure longer last, a thousand, thousand several ways. SLEEP Hush, no more, be silent all, sweet repose has clos d her eyes. Soft as feather d snow does fall! Softly, softly, steal from hence. No noise disturb her sleeping sence. A dance for the followers of Night (Oberon squeezes the flowers on Titania; Lysander and Hermia fall asleep.) ACT III (Enter Titania, Bottom and fairies. The scene changes to a great wood, a long row of large trees on each side; a river in the middle, two rows of lesser trees of a different kind just on the side of the river, which meet in the middle, and make so marry arches, two great dragons make a bridge over the river, their bodies form two arches, through which two swans are seen in the river at a great distance. Enter a troop of fawns, dryads and naides) CHORUS If love s a sweet passion, why does it torment? If a bitter, oh tell me whence comes my content? Since I suffer with pleasure, why should I complain, or grieve at my fate, when I know tis in vain? Yet so pleasing the pain is, so soft is the dart, that at once it both wounds me, and tickles my heart. I press her hand gently, look languishing down, and by passionate silence I make my love known. But oh! how I m blest when so kind she does prove, by some willing mistake to discover her love. When in striving to hide, she reveals all her flame, and our eyes tell each other, what neither dares name. Symphony while the swans come forward (While the symphony s playing, the two swans come swimming on through the arches to the bank of the river, as if they would land; these turn themselves into fairies and dance; at the same time the bridge vanishes, and the trees that were arch d, raise themselves upright) Dance for the fairies (Four savages enter, fright the fairies away, and dance an entry) Dance for the green men Song Ye gentle spirits of the air, appear; prepare, and joyn your tender voices here. Catch, and repeat the trembling sounds anew, soft as her sighs and sweet as pearly dew. Run new division, and such measures keep, as when you lull the god of love asleep. (Enter Coridon and Mopsa) Dialogue between Coridon and Mopsa CORIDON Now the maids and the men are making of hay, we h ve left the dull fools, and are stolen away. Then Mopsa no more be coy as before, but let us merrily play, and kiss the sweet time away. MOPSA Why, how now, Sir Clown, what makes you so bold? I d have ye to know I m not made of that mold. I tell you again, maids must never kiss no men. No, no, no kissing at all; I ll not kiss, till I kiss you for good and all. CORIDON Not kiss you at all? MOPSA No, no, no kissing at all! CORIDON Why no kissing at all? MOPSA I ll not kiss, till I kiss you for good and all. CORIDON Should you give me a score, twould not lessen your store, then bid me chearfully kiss, chearfully kiss and take, and take, my fill of your bliss. MOPSA I ll not trust you so far, I know you too well; should I give you an Inch, you d soon take an ell. Then lordlike you rule, and laugh at the fool. No, no... CORIDON So small a request, you must not, you cannot, you shall not deny, nor will I admit of another reply. MOPSA Nay, what do you mean? O fie, fie, fie! Song A NYMPH When I have often heard young maids complaining, that when men promise most they most deceive, then I thought none of them worthy my gaining; and what they swore, resolv d ne re to believe. But when so humbly he made his addresses, with looks so soft, and with language so kind, I thought it sin to refuse his caresses; nature o ercame, and I soon chang d my mind. Should he employ all his wit in deceiving, stretch his invention, and artfully feign; I find such charms, such true joy in believing, I ll have the pleasure, let him have pain. If he proves perjur d, I shall not be cheated, he may deceive himself, but never me; this what I look for, and shan t be defeated, for I ll be as false and inconstant as he. Dance of Haymakers Song and chorus A thousand, thousand ways we ll find to entertain the hours no two shall e re be known so kind, no life so blest as ours. Third act tune Hornpipe ACT IV Symphony (The scene changes to a garden of fountains. A sonata plays while the sun rises, it appears red through the mist, as it ascends it dissipates the vapours, and is seen in its full lustre; then the scene is perfectly discovered, the fountains enrich d gilding, and adorn d with statues; the view is terminated by a walk of cypress trees which lead to a delightful bower. Before the trees stand rows of marble columns, which support many walks which rise by stairs to the top of the house; the stairs are adorn d with figures on pedestals, and rails; and balasters on each side of em. Near the top, vast quantities of water break out of the hills, and fall in mighty cascade s to the bottom of the scene, to feed the fountains which are on each side. In the middle of the stage is a very large fountain, where the water rises about twelve foot. Then the Four Seasons enter, with their several attendants) Solo and Chorus ONE OF THE ATTENDANTS Now the night is chas d away, all salute the rising sun; this that happy, happy day, the birth-day of king Oberon. Duet TWO OTHERS Let the fifes, and the clarions, and shrill trumpets sound, and the arch of high heav n the clangor resound. Entry of Phoebus (A machine appears, the clouds break from before it, and Phoebus appears in a chariot drawn by four horses) PHOEBUS When a cruel long winter has frozen the earth, and nature imprison d seeks in vain to be free; I dart forth my beams, to give all things a birth, making spring for the plants, every flower, and each tree. Tis I who give life, warmth, an vigour to all, even love who rules all things in earth, air, and sea; would languish, and fade, and to nothing would fall, the world to its chaos would return, but for me. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. SPRING Thus the ever grateful spring, does her yearly tribute bring; all your sweets before him lay, then round his altar sing, and play. SUMMER Here s the summer, sprightly, gay, smiling, wanton, fresh, and fair; adorn d with all the flowers of may, whose various sweets perfume the air. AUTUMN See my many colour d fields, and loaded trees my will obey; all the fruit that autumn yields, I offer to the god of day. WINTER Now winter comes slowly, pale, meager, and old, first trembling with age, and then quiv ring with cold; benum d with hard frosts, and with snow cover d o re, prays the sun to restore him, and sings as before. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. (After a short time all go out except Robin-Good-Fellow, who applies the juice of the herb to Lysander s eyes) Fourth act tune Air ACT V Prelude (While a symphony plays, the machine moves forward, and the peacocks spread their tails, and fill the middle of the theatre.) Epithalamium JUNO Thrice happy lovers, may you be for ever, ever free, from that tormenting devil, jealousie. From all that anxious care and strife, that attends a married life be to one another true, kind to her as she to you, and since the errors of this night are past, may he be ever constant, she for ever chast. (The machine aspends. After Juno s song, Oberon asks to hear the plaint of Laura for her departed love.) The plaint O let me weep, for ever weep, my eyes no more the shall welcome sleep; I ll hide me from the sight of day, and sigh, and sigh my soul away. He s gone, he s gone, his loss deplore; and I shall never see him more. (While the scene is darken d, a single entry is danded.) Entry dance (Then a symphony is play d) Symphony (After that the scene is suddenly illuminated, and discovers a transparent prospect of a Chinese garden, the architecture, the trees, the plants, the fruits, the birds, the beasts quite different to what we have in this part of the word. It is terminated by an arch, through which is seen other arches with close arbors, and a row of trees to the end of the view. Over it is a hanging garden, which rises by several ascents to the top of the house; it is bounded on either side with pleasant bowers, various trees, and numbers of strange birds flying in the air, on the top of a platform is a fountain, throwing up water, which falls into a large basin. A Chinese man enters and sings) Song A CHINESE MAN Thus the gloomy world at first began to shine, and from the power divine a glory round about it hurl d; which made it bright, and gave it birth in light. Then were all minds as pure, as those ethereal streams; in innocence secure, not subject to extreams. There was no room then for empty fame, no cause for pride, ambition wanted aim. CHINESE WOMAN Thus happy and free, thus treated are we with nature s chiefest delights. We never cloy, but renew our joy, and one bliss another invites. CHORUS Thus wildly we live, thus freely we give, what heaven as freely bestows. We were not made for labour and trade, which fools on each other impose. CHINESE MAN Yes, Daphne, in your looks I find the charms by which my heart s betray d; then let not your disdain unbind the prisoner that your eyes have made. She that in love makes least defence, wounds ever with the surest dart; beauty may captivate the sence, but kindness only gains the heart. (Six monkeys come from between the trees and dance) Monkeys dance (Two women sing in parts) 1st WOMAN Hark how all things with one sound rejoice, and the world seems to have one voice. 2nd WOMAN Hark now the echoing air a triumph sings, and all around pleas d Cupids clap their wings. CHORUS Hark! Hark! 2nd WOMAN Sure the dull god of marriage does not hear BOTH We ll rouse him with a charm. Hymen, appear! CHORUS Hymen, appear! BOTH Our Queen of Night commands thee not to stay. Appear! CHORUS Our Queen... (Enter Hymen.) Prelude HYMEN See, see, I obey. My torch has long been out, I hate on loose dissembled vows to wait, where hardly love out-lives the wedding-night, false flames, love s meteors, yield my torch no light. (Six pedestals of china-work rise from under the stage; they support six large vases of porcelain, in which six china-orange-trees.) BOTH WOMEN Turn then the eyes upon those glories there, and catching flames will on thy torch appear. HYMEN My torch, indeed, will from such brightness shine, love ne er had yet such altars, so divine. (The pedestals move toward the front of the stage, and the grand dance begins of twenty-four persons; then Hymen and the two women sing together.) TRIO They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. CHORUS They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. (All the dancers join in it.) Chaconne Dance for Chinese man and woman. Purcell,Henry/The Fairy Queen
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Formula One Year Champion Car # Sponsor Chassis Engine Tyre WCC 1950 Nino Farina Alfa Romeo Alfa Romeo Pirelli 1951 Juan Manuel Fangio Alfa Romeo Alfa Romeo Pirelli 1952 Alberto Ascari Ferrari Ferrari Pirelli/Firestone 1953 Alberto Ascari Ferrari Ferrari Pirelli 1954 Juan Manuel Fangio Maserati Maserati Pirelli/Continental 1955 Juan Manuel Fangio Mercedes-Benz Mercedes-Benz Continental 1956 Juan Manuel Fangio Ferrari Ferrari Englebert 1957 Juan Manuel Fangio Maserati Maserati Pirelli 1958 Mike Hawthorn Ferrari Ferrari Englebert Vanwall 1959 Jack Brabham Cooper Climax Dunlop Cooper 1960 Jack Brabham Cooper Climax Dunlop Cooper 1961 Phil Hill Ferrari Ferrari Dunlop Ferrari 1962 Graham Hill BRM BRM Dunlop BRM 1963 Jim Clark Lotus Climax Dunlop Lotus 1964 John Surtees Ferrari Ferrari Dunlop Ferrari 1965 Jim Clark Lotus Climax Dunlop Lotus 1966 Jack Brabham Brabham Repco Goodyear Brabham 1967 Denny Hulme Brabham Climax Goodyear Brabham 1968 Graham Hill JPS Lotus Ford Cosworth Firestone Lotus 1969 Jackie Stewart Matra Ford Cosworth Dunlop Matra 1970 Jochen Rindt JPS Lotus Ford Cosworth Firestone Lotus 1971 Jackie Stewart Elf Tyrrell Ford Cosworth Goodyear Tyrrell 1972 Emerson Fittipaldi JPS Lotus Ford Cosworth Firestone Lotus 1973 Jackie Stewart 5 Elf Tyrrell Ford Cosworth Goodyear Lotus 1974 Emerson Fittipaldi 5 Marlboro McLaren Ford Cosworth Goodyear McLaren 1975 Niki Lauda 12 Ferrari Ferrari Goodyear Ferrari 1976 James Hunt 11 Marlboro McLaren Ford Cosworth Goodyear Ferrari 1977 Niki Lauda 11 Ferrari Ferrari Goodyear Ferrari 1978 Mario Andretti 5 JPS Lotus Ford Cosworth Goodyear Lotus 1979 Jody Scheckter 11 Ferrari Ferrari Michelin Ferrari 1980 Alan Jones 27 Albilad Williams Ford Cosworth Goodyear Williams 1981 Nelson Piquet 5 Parmalat Brabham Ford Cosworth Michelin/Goodyear Williams 1982 Keke Rosberg 6 TAG Williams Ford Cosworth Goodyear Ferrari 1983 Nelson Piquet 5 Fila Brabham BMW Michelin Ferrari 1984 Niki Lauda 8 Marlboro McLaren TAG Porsche Michelin McLaren 1985 Alain Prost 2 Marlboro McLaren TAG Porsche Goodyear McLaren 1986 Alain Prost 1 Marlboro McLaren TAG Porsche Goodyear Williams 1987 Nelson Piquet 6 Canon Williams Honda Goodyear Williams 1988 Ayrton Senna 12 Marlboro McLaren Honda Goodyear McLaren 1989 Alain Prost 2 Marlboro McLaren Honda Goodyear McLaren 1990 Ayrton Senna 27 Marlboro McLaren Honda Goodyear McLaren 1991 Ayrton Senna 1 Marlboro McLaren Honda Goodyear McLaren 1992 Nigel Mansell 5 Canon Williams Renault Goodyear Williams 1993 Alain Prost 2 Canon Williams Renault Goodyear Williams 1994 Michael Schumacher 5 Mild Seven Benetton Ford Goodyear Williams 1995 Michael Schumacher 1 Mild Seven Benetton Renault Goodyear Benetton 1996 Damon Hill 5 Rothmans Williams Renault Goodyear Williams 1997 Jacques Villeneuve 3 Rothmans Williams Renault Goodyear Williams 1998 Mika Hakkinen 8 West McLaren Mercedes-Benz Bridgestone McLaren 1999 Mika Hakkinen 1 West McLaren Mercedes-Benz Bridgestone Ferrari 2000 Michael Schumacher 3 Marlboro Ferrari Ferrari Bridgestone Ferrari 2001 Michael Schumacher 1 Marlboro Ferrari Ferrari Bridgestone Ferrari 2002 Michael Schumacher 1 Marlboro Ferrari Ferrari Bridgestone Ferrari 2003 Michael Schumacher 1 Marlboro Ferrari Ferrari Bridgestone Ferrari 2004 Michael Schumacher 1 Marlboro Ferrari Ferrari Bridgestone Ferrari 2005 Fernando Alonso 5 Mild Seven Renault Renault Michelin Renault 2006 Fernando Alonso 1 Mild Seven Renault Renault Michelin Renault 2007 Kimi Raikkonen 6 Marlboro Ferrari Ferrari Bridgestone Ferrari 2008 Lewis Hamilton 22 Vodafone McLaren Mercedes-Benz Bridgestone Ferrari 2009 Jenson Button 22 Brawn Mercedes-Benz Bridgestone Brawn 2010 Sebastian Vettel 5 Red Bull Red Bull Renault Bridgestone Red Bull 2011 Sebastian Vettel 1 Red Bull Red Bull Renault Pirelli Red Bull 2012 Pirelli