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https://w.atwiki.jp/rsbuygoldq/pages/20.html
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https://w.atwiki.jp/bemani_cd/pages/208.html
使用名義情報単独名義 合作名義 参加楽曲 リリース情報 参加CD情報 名前 Yusuke Ceo 所属 EXIT TUNES bemani初参加 XANADU OF TWO T.Kakuta With Starving Trancer+森永真由美 beatmaniaⅡDX18 Resort Anthem 使用名義情報 単独名義 名義 初出 備考 Starving Trancer Dance Dance Revolution(2013) Xceon beatmaniaⅡDX21 SPADA 合作名義 名義 相手 初出 備考 Another Infinity Ryu☆ HHHxMMxST Ryu☆,Dai,Halka,Mayumi Morinaga beatmaniaⅡDX19 Lincle Levaslater Ryu☆ beatmaniaⅡDX19 Lincle movies(moimoixXceonxDai.) Mayumi Morinaga,Dai. pop n music ラピストリア T.Kakuta With Starving Trancer+森永真由美 L.E.D.(T.Kakuta),Mayumi Morinaga beatmaniaⅡDX18 Resort Anthem 参加楽曲 楽曲名 名義 機種 備考 405nm (Ryu☆mix) Another Infinity beatmaniaⅡDX20 tricoro 800nm Another Infinity(Ryu☆×Starving Trancer) GuitarFreaks XG3/DrumMania XG3/jubeat copious APPEND Fly you to the star Another Infinity feat.Mayumi Morinaga beatmaniaⅡDX20 tricoro Follow Tomorrow HHHxMMxST beatmaniaⅡDX19 Lincle It s my Miracle Another Infinity feat.Mayumi Morinaga REFLEC BEAT Colette New Gravity Starving Trancer Dance Dance Revolution(2013) NNRT Levaslater beatmaniaⅡDX19 Lincle Realize Maze movies(moimoi×Xceon×Dai.) pop n music ラピストリア Too Late Snow movies(moimoi×Xceon×Dai.) jubeat prop 十六夜セツナ Xceon feat.Mayumi Morinaga beatmaniaⅡDX22 PENDUAL 朧 HHHxMMxST pop n music20 fantasia サクラヨゾラ Xceon feat.Mayumi Morinaga REFLEC BEAT groovin !! 罪と罰 Xceon feat.Mayumi Morinaga beatmaniaⅡDX21 SPADA リリース情報 CDタイトル リリース日 リンク 備考 罪と罰 2015.02.04 http //exittunes.com/detail/qwce-00431.html 参加CD情報 CDタイトル リリース日 参加トラック リンク 備考 blue moment 2015.04.22 blue moment http //etotama.com/cd/ TVアニメ「えとたま」EDテーマ
https://w.atwiki.jp/mtg2384/pages/1101.html
開催日:2011 / 10 / 01 参加人数:390名 フォーマット:レガシー(~ISD) 1/10/11 - Ovino_Sex Milano Official Report autolink 優勝:UBG Tempo 準優勝:URG Tempo‐Punishing Cascade 第3位:UW Control‐CounterTop ThopterSword +r 第4位:SpiralTide 第5位:Maverick 第6位:URG Tempo‐Canadian 第7位:URG Tempo‐Order 第8位:URG Tempo‐Canadian 優勝:UBG Tempo 使用者:Marcotti Davide Main Deck 2《Bayou》 3《霧深い雨林/Misty Rainforest》 2《汚染された三角州/Polluted Delta》 2《Tropical Island》 4《Underground Sea》 4《新緑の地下墓地/Verdant Catacombs》 4《不毛の大地/Wasteland》 3《秘密を掘り下げる者/Delver of Secrets》 2《瞬唱の魔道士/Snapcaster Mage》 4《タルモゴイフ/Tarmogoyf》 3《墓忍び/Tombstalker》 4《渦まく知識/Brainstorm》 3《目くらまし/Daze》 2《四肢切断/Dismember》 4《Force of Will》 1《恐ろしい死/Ghastly Demise》 1《喉首狙い/Go for the Throat》 4《Hymn to Tourach》 2《思案/Ponder》 3《思考囲い/Thoughtseize》 1《仕組まれた爆薬/Engineered Explosives》 2《精神を刻む者、ジェイス/Jace, the Mind Sculptor》 Sideboard 1《セファリッドの女帝ラワン/Llawan, Cephalid Empress》 3《根絶/Extirpate》 1《恐ろしい死/Ghastly Demise》 1《喉首狙い/Go for the Throat》 1《クローサの掌握/Krosan Grip》 1《呪文貫き/Spell Pierce》 1《壌土からの生命/Life from the Loam》 2《非業の死/Perish》 1《思考囲い/Thoughtseize》 2《破滅的な行為/Pernicious Deed》 1《虚無の呪文爆弾/Nihil Spellbomb》 準優勝:URG Tempo‐Punishing Cascade 使用者:Sartini Roberto Main Deck 1《森/Forest》 4《燃え柳の木立ち/Grove of the Burnwillows》 1《島/Island》 4《霧深い雨林/Misty Rainforest》 1《山/Mountain》 1《沸騰する小湖/Scalding Tarn》 1《Taiga》 3《Tropical Island》 3《Volcanic Island》 2《樹木茂る山麓/Wooded Foothills》 2《血編み髪のエルフ/Bloodbraid Elf》 4《貴族の教主/Noble Hierarch》 3《呪文づまりのスプライト/Spellstutter Sprite》 4《タルモゴイフ/Tarmogoyf》 3《ヴェンディリオン三人衆/Vendilion Clique》 4《渦まく知識/Brainstorm》 4《Force of Will》 3《稲妻/Lightning Bolt》 4《罰する火/Punishing Fire》 3《祖先の幻視/Ancestral Vision》 3《思案/Ponder》 2《精神を刻む者、ジェイス/Jace, the Mind Sculptor》 Sideboard 2《クローサの掌握/Krosan Grip》 2《紅蓮破/Pyroblast》 1《赤霊破/Red Elemental Blast》 2《呪文貫き/Spell Pierce》 3《水没/Submerge》 2《外科的摘出/Surgical Extraction》 1《真髄の針/Pithing Needle》 2《大祖始の遺産/Relic of Progenitus》 第3位:UW Control‐CounterTop ThopterSword +r 使用者:Milillo Andrea Main Deck 1《アカデミーの廃墟/Academy Ruins》 1《乾燥台地/Arid Mesa》 4《溢れかえる岸辺/Flooded Strand》 3《島/Island》 1《山/Mountain》 2《平地/Plains》 4《沸騰する小湖/Scalding Tarn》 1《教議会の座席/Seat of the Synod》 1《Tropical Island》 3《Tundra》 1《Volcanic Island》 1《粗石の魔道士/Trinket Mage》 4《渦まく知識/Brainstorm》 1《対抗呪文/Counterspell》 2《悟りの教示者/Enlightened Tutor》 4《Force of Will》 1《流刑への道/Path to Exile》 4《剣を鍬に/Swords to Plowshares》 1《炎渦竜巻/Firespout》 2《神の怒り/Wrath of God》 4《相殺/Counterbalance》 1《仕組まれた疫病/Engineered Plague》 1《Moat》 1《忘却の輪/Oblivion Ring》 1《罠の橋/Ensnaring Bridge》 4《師範の占い独楽/Sensei s Divining Top》 1《弱者の剣/Sword of the Meek》 3《飛行機械の鋳造所/Thopter Foundry》 3《精神を刻む者、ジェイス/Jace, the Mind Sculptor》 Sideboard 3《石鍛冶の神秘家/Stoneforge Mystic》 2《紅蓮破/Pyroblast》 1《赤霊破/Red Elemental Blast》 2《血染めの月/Blood Moon》 4《虚空の力線/Leyline of the Void》 1《殴打頭蓋/Batterskull》 1《大祖始の遺産/Relic of Progenitus》 1《トーモッドの墓所/Tormod s Crypt》 第4位:SpiralTide 使用者:Fedeli Lorenzo Main Deck 2《溢れかえる岸辺/Flooded Strand》 12《島/Island》 1《霧深い雨林/Misty Rainforest》 1《汚染された三角州/Polluted Delta》 2《沸騰する小湖/Scalding Tarn》 4《渦まく知識/Brainstorm》 3《狡猾な願い/Cunning Wish》 2《狼狽の嵐/Flusterstorm》 4《Force of Will》 4《High Tide》 1《直観/Intuition》 1《瞑想/Meditate》 1《否定の契約/Pact of Negation》 4《転換/Turnabout》 4《商人の巻物/Merchant Scroll》 2《思案/Ponder》 4《定業/Preordain》 4《時のらせん/Time Spiral》 2《Candelabra of Tawnos》 2《師範の占い独楽/Sensei s Divining Top》 Sideboard 1《青の太陽の頂点/Blue Sun s Zenith》 1《思考停止/Brain Freeze》 1《ハーキルの召還術/Hurkyl s Recall》 2《瞑想/Meditate》 1《精神壊しの罠/Mindbreak Trap》 1《否定の契約/Pact of Negation》 1《貪欲な罠/Ravenous Trap》 1《再建/Rebuild》 1《断絶/Snap》 3《呪文貫き/Spell Pierce》 2《拭い捨て/Wipe Away》 第5位:Maverick 使用者:Giarola Andrea Main Deck 1《ドライアドの東屋/Dryad Arbor》 2《森/Forest》 1《ガイアの揺籃の地/Gaea s Cradle》 2《地平線の梢/Horizon Canopy》 1《Karakas》 1《霧深い雨林/Misty Rainforest》 1《平地/Plains》 4《Savannah》 4《不毛の大地/Wasteland》 4《吹きさらしの荒野/Windswept Heath》 3《エイヴンの思考検閲者/Aven Mindcensor》 1《極楽鳥/Birds of Paradise》 4《聖遺の騎士/Knight of the Reliquary》 4《ルーンの母/Mother of Runes》 3《貴族の教主/Noble Hierarch》 2《クァーサルの群れ魔道士/Qasali Pridemage》 1《漁る軟泥/Scavenging Ooze》 2《スクリブのレインジャー/Scryb Ranger》 3《石鍛冶の神秘家/Stoneforge Mystic》 1《最後のトロール、スラーン/Thrun, the Last Troll》 4《剣を鍬に/Swords to Plowshares》 4《緑の太陽の頂点/Green Sun s Zenith》 2《森の知恵/Sylvan Library》 1《饗宴と飢餓の剣/Sword of Feast and Famine》 1《火と氷の剣/Sword of Fire and Ice》 1《梅澤の十手/Umezawa s Jitte》 2《遍歴の騎士、エルズペス/Elspeth, Knight-Errant》 Sideboard 3《エーテル宣誓会の法学者/Ethersworn Canonist》 3《フェアリーの忌み者/Faerie Macabre》 1《ガドック・ティーグ/Gaddock Teeg》 2《ファイレクシアの変形者/Phyrexian Metamorph》 1《クァーサルの群れ魔道士/Qasali Pridemage》 2《クローサの掌握/Krosan Grip》 3《窒息/Choke》 第6位:URG Tempo‐Canadian 使用者:Blasi Matteo Main Deck 2《溢れかえる岸辺/Flooded Strand》 4《Tropical Island》 4《Volcanic Island》 4《不毛の大地/Wasteland》 4《樹木茂る山麓/Wooded Foothills》 4《秘密を掘り下げる者/Delver of Secrets》 3《敏捷なマングース/Nimble Mongoose》 4《タルモゴイフ/Tarmogoyf》 4《渦まく知識/Brainstorm》 4《目くらまし/Daze》 2《四肢切断/Dismember》 4《Force of Will》 4《稲妻/Lightning Bolt》 3《呪文嵌め/Spell Snare》 4《もみ消し/Stifle》 4《思案/Ponder》 2《火+氷/Fire+Ice》 Sideboard 2《クローサの掌握/Krosan Grip》 2《紅蓮破/Pyroblast》 1《赤霊破/Red Elemental Blast》 3《呪文貫き/Spell Pierce》 3《水没/Submerge》 2《外科的摘出/Surgical Extraction》 2《精神支配/Mind Harness》 第7位:URG Tempo‐Order 使用者:Scalchi Massimo Main Deck 1《ドライアドの東屋/Dryad Arbor》 1《森/Forest》 1《島/Island》 4《霧深い雨林/Misty Rainforest》 1《山/Mountain》 1《沸騰する小湖/Scalding Tarn》 1《Taiga》 4《Tropical Island》 2《Volcanic Island》 3《樹木茂る山麓/Wooded Foothills》 2《渋面の溶岩使い/Grim Lavamancer》 4《貴族の教主/Noble Hierarch》 1《大祖始/Progenitus》 1《漁る軟泥/Scavenging Ooze》 4《タルモゴイフ/Tarmogoyf》 3《ヴェンディリオン三人衆/Vendilion Clique》 4《渦まく知識/Brainstorm》 3《目くらまし/Daze》 4《Force of Will》 4《稲妻/Lightning Bolt》 2《呪文貫き/Spell Pierce》 3《緑の太陽の頂点/Green Sun s Zenith》 4《自然の秩序/Natural Order》 1《森の知恵/Sylvan Library》 2《火+氷/Fire+Ice》 Sideboard 2《月の大魔術師/Magus of the Moon》 1《古えの遺恨/Ancient Grudge》 2《方向転換/Divert》 1《クローサの掌握/Krosan Grip》 2《赤霊破/Red Elemental Blast》 2《水没/Submerge》 1《外科的摘出/Surgical Extraction》 2《大祖始の遺産/Relic of Progenitus》 2《精神を刻む者、ジェイス/Jace, the Mind Sculptor》 第8位:URG Tempo‐Canadian 使用者:Moyschewitz Fabian Main Deck 2《溢れかえる岸辺/Flooded Strand》 4《Tropical Island》 4《Volcanic Island》 4《不毛の大地/Wasteland》 4《樹木茂る山麓/Wooded Foothills》 4《敏捷なマングース/Nimble Mongoose》 4《タルモゴイフ/Tarmogoyf》 1《ヴェンディリオン三人衆/Vendilion Clique》 4《渦まく知識/Brainstorm》 4《目くらまし/Daze》 2《四肢切断/Dismember》 4《Force of Will》 4《稲妻/Lightning Bolt》 4《呪文嵌め/Spell Snare》 4《もみ消し/Stifle》 4《思案/Ponder》 3《火+氷/Fire+Ice》 Sideboard 1《クローサの掌握/Krosan Grip》 2《赤霊破/Red Elemental Blast》 3《呪文貫き/Spell Pierce》 3《水没/Submerge》 1《紅蓮地獄/Pyroclasm》 2《精神支配/Mind Harness》 3《トーモッドの墓所/Tormod s Crypt》
https://w.atwiki.jp/oper/pages/3214.html
ATTO SECONDO Scena 1 (Camera rustica.) LUBINO Andiam, caro Tita. TITA Andiam, Lubin mio. LUBINO A Lilla TITA A la Ghita LUBINO, TITA Comprare vogl io. TITA Un nastro LUBINO Un anello TITA Le fibbie LUBINO Il cappello LUBINO, TITA E il fiore più bello ch io possa trovar. Andiam pria ch il giorno più oscuro diventi. Oh, come contenti vogliamo cenar. Scena 2 (Entrano Lilla e Ghita) LILLA Lubin! GHITA Tita! LUBINO, TITA Che vuoi? LILLA Parti? GHITA Vai via? LUBINO, TITA Parto, e torno a momenti, o gioia mia. (Partono.) Scena 3 LILLA Cos è tal novità? GHITA Lascia che vadano; di cosa importantissima io ti deggio parlar. (Lascia si rimanere soli) Posso teco spiegarmi con plena libertà? LILLA Cioè? GHITA Senti, l Infante è di te innamorato, e se a me credi, la tua fortuna è fatta! LILLA Come? Mi prendi tu per qualche matta? GHITA Fai meco la smorfiosa? LILLA Fo quello che far deve onesta sposa. Non sai ch io amo il mio Lubino? GHITA Amalo. Tienti la fede tua, tienti il tuo core; in materia d amore, a un Prence non si dà né cor, né fede. LILLA Cosa dunque? GHITA Parole! LILLA Parole? GHITA Sì, parole. Con lui stesso parlai; questa catena, preziosissimo dono, da recarti ei mi diede, ed a me diede una borsa di doppie sol perch io te ne parli. LILLA Tienti la tua catena, e dì al tuo Prence che finisca una volta di così infastidirmi. Io non accetto doni, io Principi non voglio, amo Lubino. GHITA Non perdere sorella, un occasion sì bella! Almen, pensaci su; da te non chiedo se non che tu l accolga con un po di maniera, che finga, che lusinghi, che prometta finché siamo ben ricche. LILLA Ed ingannarlo perché dovrei così? GHITA Per castigarlo! LILLA Castigarlo perchè? GHITA Ti par picciol delitto tentar una ragazza appena sposa? e tentarla con cosa? Con quattrini! LILLA Ma tu, giovane ancora, e contadina, dove apprendesti mai cose sì belle? GHITA Tutto quello ch io parlo ogni donna lo sa senza impararlo. Colla flemma che tu vedi, con quest aria di bontà, saprei far quel che non credi e che fan nella città. Fra saprei la spasimante senza mai sentir amore e di pietra avendo il core, dimostrare altrui pietà. Saprei passare dal pianto al riso, saprei cangiare l aria del viso, all improvviso mutar colore, far che mi palpiti con arte il core, tutto promettere, conceder poco, dir no con grazia, dir sì per gioco, ed altre simile bagatelluccie, con quell eccetera ch io non vo dir. Femmine amabili non vi lagnate, in questo secolo voi siete nate; per ben dagli uomini farvi sentir. (Parte.) LILLA Femmine amabili non vi fidate, in ogni secolo voi siete nate; per ben dagli uomini farvi istruir. (Parte.) Scena 4 (Corrado solo, poi la Ghita.) CORRADO (Entrando) Io spero che la Ghita abbia dato l assalto alla fortezza; Io non son senza speme Or che ceda la Lilla a me sol preme. Ceda pur a l Infante; purché a sentir l amante ella s avvezzi che la prima caduta è sempre la difficile Vien Ghitta Ebben, che c è di nuovo? GHITA Io non ho visto femmina più ostinata di costei. CORRADO Ma la catena? GHITA È nulla. CORRADO E l oro? GHITA Nulla affatto. CORRADO Guarda, figliuola mia, che cervel matto! Tu però non stancarti, Ghita mia, di adoprarti. Donna sollecitata è mezzo guadagnata; parla, prega, prometti, incoraggisci, istruisci, lusinga GHITA Ma signore, questa vostra premura questo foco ci mancherebbe poco ch io credessi voi stesso di Lilla innamorato. CORRADO Ah, che ti pare? Amare un uom par mio? Corrado amare? Osserva questo crine, ch è fatto omai d argento, il curvo collo osserva, la voce e l andamento che indebolisce e snerva il peso dell età. Fui già d amor seguace or son d amor nemico, amo la bella pace e la tranquillità. Conosco i danni miei, sì pazzo non sarei di por mai speme in femmina, ch un vecchio amar non sa. (ride) Malandrina, tu ridesti, e lo so che tu sapresti diventar d un orso amante per contante o per bontà. (Ghita sola.) GHITA Questi signori in somma credon coi lor quattrini di comprar tutto il mondo (Parte.) Scena 5 (Atrio terreno. La Regina e il Principe col suo seguito.) REGINA E perché non veggio l usata gioia rider nel volto dell amato figlio? PRINCIPE Se voi mel permettete, questa sera vorrei di Lilla e Ghita veder anch io le nozze. REGINA Andate, o figlio, tra le gioie innocenti di quelle buone genti ritornerà la calma al vostro seno. (Viene il Podestà coi villani, che portano doni del paese alla Regina.) PODESTÀ (Fra sè) Tornerà, tornerà, lo spero, almeno. REGINA Ma qual di cetre e di viole io sento suonar per l aria pastoral concento? CORO Di campagne, di montagne, di spelonche, di pendici, innocenti e abitatrici vengon ora al regio piè. Vengon qui per adorarti, per recarti un picciol dono, scorte sono da l amore, dal candore di lor fè. PODESTÀ Perdono, alma Regina, all ardir di costoro, al loro affetto, all ardente lor brama invan m opposi, invano contrastai; dalla campagna fero appena ritorno al rustico soggiorno che chieser di veder la lor Regina, ed insieme col core offrirle tutti, poi che meglio non han, fior, latte e frutti. REGINA Oh care, i doni accetto, son grata al vostro affetto; e perché sia la compiacenza mia nota alla villa lo rechi il buon Lisargo a Ghita e a Lilla. PODESTÀ, CORRADO Che generosità! REGINA Voi gite, o figlio, ed insieme con essi passate pur la notte in festa e in gioco. La virtù va onorata in ogni loco. CORO Di campagne, di montagne, ecc. (Partono, meno la Regina) Scena 6 (La Regina sola.) REGINA Chi mai diria che in questi rozzi tetti, e sotto queste pastorali spoglie tanta virtù, tanta onestà s accoglie! O felici abituri, o piagge amiche, di riposo e di pace alberghi veri. Quanto mai volentieri la vostr aura io respiro, e se il destino m avesse dato in sorte di vivere a me stessa, ingrato e vile mi fora ogni altro dono, e con voi cengerei la reggia e il trono. Ah, perché formar non lice ad ogni alma il suo destino, ch io per voi vivrei felice tra i piacer di libertà? E tra i semplici diletti dei pastori dell armento troverebbe il cor contento quel riposo ch or non ha. Ah, non erano le selve destinate per le belve! Là si trova, là si prova la mortal felicità. (Parte.) Scena 7 (Entrano il Principe e Corrado, ambedue con lunghi tabarri) PRINCIPE E possibil sarà che una villana resista ai desir miei, resista a tanti allettamenti di promesse, e doni? Ah, tu ben sai ch io doman partir debbo. Or che mi resta da far in una notte? CORRADO In una notte si fan le belle cose PRINCIPE Mi raccomando a te. CORRADO Dal canto mio, il possibil farò PRINCIPE Ma che dirian di me se mi servissi d un mezzo così vile? CORRADO Un amoroso inganno colpa non è Andiam un poco alle porte di Lilla; ivi Signore, qualche cosa accadrà. Sempre fui persuaso che l uom si debba porre in mano al caso. (Parte.) PRINCIPE Oh Ciel che duro passo è mai questo per me! Sentir mi pare una voce nel cor, che mi rinfacci la debolezza mia. Dunque un Infante, un figlio d Isabella, da una vile serrana ora è costretto a mendicare affetto, e a mendicarlo, ahimè!, con un inganno! A qual varco mi traggi, amor tiranno. Seguir degg io chi fugge? Chi mi disprezza amar? Saprò scacciar dal petto il mio funesto affetto, saprò aborrir la perfida che ride al mio penar. Saprò, ma intanto il core langue nel suo dolore e della mia speranza comincio a dubitar. Stelle ingrate, avversi Dei! Che volete ancor da me? Son confuso, son oppresso, non intendo più me stesso. A miei mali una speranza pur m avanza ancora in te. Scena 8 (Strada, da un lato la casa di Tita, dall altro alberi. Lilla sola, poi Ghita sulla porta, senza essere veduta.) LILLA La notte s avvicina, e ancor non veggio il mio sposo venir. Lubino! In questo giorno così poco tu brami di star con lei che t ama e tu tant ami? GHITA (fra sè) Che diavolo vuol dir che non vien Tita? Sta a veder che il birbante avrà trovata una novella amante. LILLA (Sospira.) Ahimè! GHITA (Non veduta dalla Lilla.) Questa è la Lilla La conosco ai sospiri. Lilla, che fai qui sola? LILLA Mi diverto. GHITA Ma so che meglio si divertiria se avesse Lubinetto in compagnia. LILLA Sì, sì, lasciam gli scherzi. Or che ne dici di questo lor tardar? (Si vedono in distanza alcuni pastori.) GHITA Infatti vedi tornar dal campo alcuni pastorelli, chieggiam un po se nuova hanno di quelli. LILLA, GHITA Villanelle che volgete lieto il passo al caro tetto, per pietà non mel tacete se vedeste il mio diletto, ahi, ahi, prima d andar via ahi, che pena, che dolor! Brunetto/vermiglio è il suo viso è nero/biondo il capel, e un vago sorriso lo rende più bel. Ah, tutte sen vanno, risposta non ho! Invidia n avranno di cosa io lo so. Scena 9 (Entrano il Principe e Corrado. E notte scura) PRINCIPE Eccola; al buio ancora riconosce il mio core il suo tesoro. Avviciniamci a lei. Non ammettono indugi i voti miei. CORRADO Lasciate fare a me! LILLA Ghita mia, ritiriamci, la notte si fa scura. GHITA E di cosa hai paura? LILLA Che so io? Con questo tuo bizzarro Principino io temo sempre d inquietar Lubino. CORRADO (sottovoce) Ha seco la cognata. PRINCIPE (sottovoce) Non serve, è nostra amica (Alterando la voce e nascondendosi col mantello) Lilla! CORRADO (Corrado fa lo stesso.) Ghita! LILLA Questo mi par Lubino. GHITA E questo Tita. CORRADO (Fra sè) Secondiamo l equivoco. GHITA (Piano alla Lilla.) Son essi senza fallo. Sposo mio! LILLA Mio Lubin! GHITA Parla! LILLA Non ti nascondere! GHITA, LILLA Ah tu segui, furbetto, a non rispondere! Dammi la cara mano, abbracciami, mio cor, tu se il mio dolce amor, non mi rispondi? PRINCIPE, CORRADO Son/È de begli occhi tuoi il fido adorator, un misero che muor se nol secondi. LILLA, GHITA Cieli! Quest è l Infante /Corrado! PRINCIPE Non mi fuggir mio bene. PRINCIPE, CORRADO Conforto alle mie/sue pene io/ei spero/a sol da te. LILLA Ah, se Lubino or viene! GHITA Ah, se mai Tita viene! LILLA, GHITA Che mai sarà di me? (Entrano Lubino e Tita) TITA Mi par di sentir gente. LUBINO Lilla! TITA Ghita! PRINCIPE, CORRADO, LILLA, GHITA Gli sposi, oh Dei! (Le due spose lasciano il Principe e Corrado, e s accostano ai loro sposi.) LILLA, GHITA Son qui ben mio. LUBINO, TITA Qui sei? E teco ancor chi v è? LILLA, GHITA Son questi contadini, che tornan dal lavoro. (Il Principe e Corrado si allontanano.) LUBINO, TITA E a voi così vicini? Sì uniti a voi perchè? Barbare gelosie, la pure gioie mie cessate di turbar. PRINCIPE, CORRADO (Stanno di dietro) (Fra loro) Mettamci qui in disparte e stiamo ad osservar. LILLA, GHITA Sai che te solo adoro, di me non dubitar. PRINCIPE, CORRADO Ah, nel momento stesso in cui sperai/sperò ristoro per sempre il mio/suo tesoro io vedomi/vedesi involar LUBINO, TITA Ah, se m inganna Lilla/Ghita, l idolo del cor mio! Di chi si deve, o Dio!, quest anima fidar? LILLA, GHITA Ah, s io Lubino/se il mio Tita inganno l idolo del cor mio! Di chi deve o Dio un anima fidar? (Partano tutti, meno il Principe.) Scena 10 PRINCIPE Di qual rigido marmo ha dunque il core, questa barbara tigre in volto umano? Quanto finora invano e promesse e lusinghe e querele e sospiri, infelice versai! Quale strade intentate, o Dio!, lasciai! Potea per una ingrata avvilirmi di più? Fuggirmi, odiarmi, rifiutarmi, schernirmi! Ah, ch io dovrei, abborrire quell empia, e di me stesso vergognarmi con me per tale eccesso. Perchè farla, eterni Dei, tanto bella agli occhi miei? O perchè non farla ancor che capace sia d amor! Abborrir vorrei l ingrata nè mi sento odio sì forte. Ma una rea che mi da morte è la Dea di questo cor. ATTO SECONDO Scena 1 (Camera rustica.) LUBINO Andiam, caro Tita. TITA Andiam, Lubin mio. LUBINO A Lilla TITA A la Ghita LUBINO, TITA Comprare vogl io. TITA Un nastro LUBINO Un anello TITA Le fibbie LUBINO Il cappello LUBINO, TITA E il fiore più bello ch io possa trovar. Andiam pria ch il giorno più oscuro diventi. Oh, come contenti vogliamo cenar. Scena 2 (Entrano Lilla e Ghita) LILLA Lubin! GHITA Tita! LUBINO, TITA Che vuoi? LILLA Parti? GHITA Vai via? LUBINO, TITA Parto, e torno a momenti, o gioia mia. (Partono.) Scena 3 LILLA Cos è tal novità? GHITA Lascia che vadano; di cosa importantissima io ti deggio parlar. (Lascia si rimanere soli) Posso teco spiegarmi con plena libertà? LILLA Cioè? GHITA Senti, l Infante è di te innamorato, e se a me credi, la tua fortuna è fatta! LILLA Come? Mi prendi tu per qualche matta? GHITA Fai meco la smorfiosa? LILLA Fo quello che far deve onesta sposa. Non sai ch io amo il mio Lubino? GHITA Amalo. Tienti la fede tua, tienti il tuo core; in materia d amore, a un Prence non si dà né cor, né fede. LILLA Cosa dunque? GHITA Parole! LILLA Parole? GHITA Sì, parole. Con lui stesso parlai; questa catena, preziosissimo dono, da recarti ei mi diede, ed a me diede una borsa di doppie sol perch io te ne parli. LILLA Tienti la tua catena, e dì al tuo Prence che finisca una volta di così infastidirmi. Io non accetto doni, io Principi non voglio, amo Lubino. GHITA Non perdere sorella, un occasion sì bella! Almen, pensaci su; da te non chiedo se non che tu l accolga con un po di maniera, che finga, che lusinghi, che prometta finché siamo ben ricche. LILLA Ed ingannarlo perché dovrei così? GHITA Per castigarlo! LILLA Castigarlo perchè? GHITA Ti par picciol delitto tentar una ragazza appena sposa? e tentarla con cosa? Con quattrini! LILLA Ma tu, giovane ancora, e contadina, dove apprendesti mai cose sì belle? GHITA Tutto quello ch io parlo ogni donna lo sa senza impararlo. Colla flemma che tu vedi, con quest aria di bontà, saprei far quel che non credi e che fan nella città. Fra saprei la spasimante senza mai sentir amore e di pietra avendo il core, dimostrare altrui pietà. Saprei passare dal pianto al riso, saprei cangiare l aria del viso, all improvviso mutar colore, far che mi palpiti con arte il core, tutto promettere, conceder poco, dir no con grazia, dir sì per gioco, ed altre simile bagatelluccie, con quell eccetera ch io non vo dir. Femmine amabili non vi lagnate, in questo secolo voi siete nate; per ben dagli uomini farvi sentir. (Parte.) LILLA Femmine amabili non vi fidate, in ogni secolo voi siete nate; per ben dagli uomini farvi istruir. (Parte.) Scena 4 (Corrado solo, poi la Ghita.) CORRADO (Entrando) Io spero che la Ghita abbia dato l assalto alla fortezza; Io non son senza speme Or che ceda la Lilla a me sol preme. Ceda pur a l Infante; purché a sentir l amante ella s avvezzi che la prima caduta è sempre la difficile Vien Ghitta Ebben, che c è di nuovo? GHITA Io non ho visto femmina più ostinata di costei. CORRADO Ma la catena? GHITA È nulla. CORRADO E l oro? GHITA Nulla affatto. CORRADO Guarda, figliuola mia, che cervel matto! Tu però non stancarti, Ghita mia, di adoprarti. Donna sollecitata è mezzo guadagnata; parla, prega, prometti, incoraggisci, istruisci, lusinga GHITA Ma signore, questa vostra premura questo foco ci mancherebbe poco ch io credessi voi stesso di Lilla innamorato. CORRADO Ah, che ti pare? Amare un uom par mio? Corrado amare? Osserva questo crine, ch è fatto omai d argento, il curvo collo osserva, la voce e l andamento che indebolisce e snerva il peso dell età. Fui già d amor seguace or son d amor nemico, amo la bella pace e la tranquillità. Conosco i danni miei, sì pazzo non sarei di por mai speme in femmina, ch un vecchio amar non sa. (ride) Malandrina, tu ridesti, e lo so che tu sapresti diventar d un orso amante per contante o per bontà. (Ghita sola.) GHITA Questi signori in somma credon coi lor quattrini di comprar tutto il mondo (Parte.) Scena 5 (Atrio terreno. La Regina e il Principe col suo seguito.) REGINA E perché non veggio l usata gioia rider nel volto dell amato figlio? PRINCIPE Se voi mel permettete, questa sera vorrei di Lilla e Ghita veder anch io le nozze. REGINA Andate, o figlio, tra le gioie innocenti di quelle buone genti ritornerà la calma al vostro seno. (Viene il Podestà coi villani, che portano doni del paese alla Regina.) PODESTÀ (Fra sè) Tornerà, tornerà, lo spero, almeno. REGINA Ma qual di cetre e di viole io sento suonar per l aria pastoral concento? CORO Di campagne, di montagne, di spelonche, di pendici, innocenti e abitatrici vengon ora al regio piè. Vengon qui per adorarti, per recarti un picciol dono, scorte sono da l amore, dal candore di lor fè. PODESTÀ Perdono, alma Regina, all ardir di costoro, al loro affetto, all ardente lor brama invan m opposi, invano contrastai; dalla campagna fero appena ritorno al rustico soggiorno che chieser di veder la lor Regina, ed insieme col core offrirle tutti, poi che meglio non han, fior, latte e frutti. REGINA Oh care, i doni accetto, son grata al vostro affetto; e perché sia la compiacenza mia nota alla villa lo rechi il buon Lisargo a Ghita e a Lilla. PODESTÀ, CORRADO Che generosità! REGINA Voi gite, o figlio, ed insieme con essi passate pur la notte in festa e in gioco. La virtù va onorata in ogni loco. CORO Di campagne, di montagne, ecc. (Partono, meno la Regina) Scena 6 (La Regina sola.) REGINA Chi mai diria che in questi rozzi tetti, e sotto queste pastorali spoglie tanta virtù, tanta onestà s accoglie! O felici abituri, o piagge amiche, di riposo e di pace alberghi veri. Quanto mai volentieri la vostr aura io respiro, e se il destino m avesse dato in sorte di vivere a me stessa, ingrato e vile mi fora ogni altro dono, e con voi cengerei la reggia e il trono. Ah, perché formar non lice ad ogni alma il suo destino, ch io per voi vivrei felice tra i piacer di libertà? E tra i semplici diletti dei pastori dell armento troverebbe il cor contento quel riposo ch or non ha. Ah, non erano le selve destinate per le belve! Là si trova, là si prova la mortal felicità. (Parte.) Scena 7 (Entrano il Principe e Corrado, ambedue con lunghi tabarri) PRINCIPE E possibil sarà che una villana resista ai desir miei, resista a tanti allettamenti di promesse, e doni? Ah, tu ben sai ch io doman partir debbo. Or che mi resta da far in una notte? CORRADO In una notte si fan le belle cose PRINCIPE Mi raccomando a te. CORRADO Dal canto mio, il possibil farò PRINCIPE Ma che dirian di me se mi servissi d un mezzo così vile? CORRADO Un amoroso inganno colpa non è Andiam un poco alle porte di Lilla; ivi Signore, qualche cosa accadrà. Sempre fui persuaso che l uom si debba porre in mano al caso. (Parte.) PRINCIPE Oh Ciel che duro passo è mai questo per me! Sentir mi pare una voce nel cor, che mi rinfacci la debolezza mia. Dunque un Infante, un figlio d Isabella, da una vile serrana ora è costretto a mendicare affetto, e a mendicarlo, ahimè!, con un inganno! A qual varco mi traggi, amor tiranno. Seguir degg io chi fugge? Chi mi disprezza amar? Saprò scacciar dal petto il mio funesto affetto, saprò aborrir la perfida che ride al mio penar. Saprò, ma intanto il core langue nel suo dolore e della mia speranza comincio a dubitar. Stelle ingrate, avversi Dei! Che volete ancor da me? Son confuso, son oppresso, non intendo più me stesso. A miei mali una speranza pur m avanza ancora in te. Scena 8 (Strada, da un lato la casa di Tita, dall altro alberi. Lilla sola, poi Ghita sulla porta, senza essere veduta.) LILLA La notte s avvicina, e ancor non veggio il mio sposo venir. Lubino! In questo giorno così poco tu brami di star con lei che t ama e tu tant ami? GHITA (fra sè) Che diavolo vuol dir che non vien Tita? Sta a veder che il birbante avrà trovata una novella amante. LILLA (Sospira.) Ahimè! GHITA (Non veduta dalla Lilla.) Questa è la Lilla La conosco ai sospiri. Lilla, che fai qui sola? LILLA Mi diverto. GHITA Ma so che meglio si divertiria se avesse Lubinetto in compagnia. LILLA Sì, sì, lasciam gli scherzi. Or che ne dici di questo lor tardar? (Si vedono in distanza alcuni pastori.) GHITA Infatti vedi tornar dal campo alcuni pastorelli, chieggiam un po se nuova hanno di quelli. LILLA, GHITA Villanelle che volgete lieto il passo al caro tetto, per pietà non mel tacete se vedeste il mio diletto, ahi, ahi, prima d andar via ahi, che pena, che dolor! Brunetto/vermiglio è il suo viso è nero/biondo il capel, e un vago sorriso lo rende più bel. Ah, tutte sen vanno, risposta non ho! Invidia n avranno di cosa io lo so. Scena 9 (Entrano il Principe e Corrado. E notte scura) PRINCIPE Eccola; al buio ancora riconosce il mio core il suo tesoro. Avviciniamci a lei. Non ammettono indugi i voti miei. CORRADO Lasciate fare a me! LILLA Ghita mia, ritiriamci, la notte si fa scura. GHITA E di cosa hai paura? LILLA Che so io? Con questo tuo bizzarro Principino io temo sempre d inquietar Lubino. CORRADO (sottovoce) Ha seco la cognata. PRINCIPE (sottovoce) Non serve, è nostra amica (Alterando la voce e nascondendosi col mantello) Lilla! CORRADO (Corrado fa lo stesso.) Ghita! LILLA Questo mi par Lubino. GHITA E questo Tita. CORRADO (Fra sè) Secondiamo l equivoco. GHITA (Piano alla Lilla.) Son essi senza fallo. Sposo mio! LILLA Mio Lubin! GHITA Parla! LILLA Non ti nascondere! GHITA, LILLA Ah tu segui, furbetto, a non rispondere! Dammi la cara mano, abbracciami, mio cor, tu se il mio dolce amor, non mi rispondi? PRINCIPE, CORRADO Son/È de begli occhi tuoi il fido adorator, un misero che muor se nol secondi. LILLA, GHITA Cieli! Quest è l Infante /Corrado! PRINCIPE Non mi fuggir mio bene. PRINCIPE, CORRADO Conforto alle mie/sue pene io/ei spero/a sol da te. LILLA Ah, se Lubino or viene! GHITA Ah, se mai Tita viene! LILLA, GHITA Che mai sarà di me? (Entrano Lubino e Tita) TITA Mi par di sentir gente. LUBINO Lilla! TITA Ghita! PRINCIPE, CORRADO, LILLA, GHITA Gli sposi, oh Dei! (Le due spose lasciano il Principe e Corrado, e s accostano ai loro sposi.) LILLA, GHITA Son qui ben mio. LUBINO, TITA Qui sei? E teco ancor chi v è? LILLA, GHITA Son questi contadini, che tornan dal lavoro. (Il Principe e Corrado si allontanano.) LUBINO, TITA E a voi così vicini? Sì uniti a voi perchè? Barbare gelosie, la pure gioie mie cessate di turbar. PRINCIPE, CORRADO (Stanno di dietro) (Fra loro) Mettamci qui in disparte e stiamo ad osservar. LILLA, GHITA Sai che te solo adoro, di me non dubitar. PRINCIPE, CORRADO Ah, nel momento stesso in cui sperai/sperò ristoro per sempre il mio/suo tesoro io vedomi/vedesi involar LUBINO, TITA Ah, se m inganna Lilla/Ghita, l idolo del cor mio! Di chi si deve, o Dio!, quest anima fidar? LILLA, GHITA Ah, s io Lubino/se il mio Tita inganno l idolo del cor mio! Di chi deve o Dio un anima fidar? (Partano tutti, meno il Principe.) Scena 10 PRINCIPE Di qual rigido marmo ha dunque il core, questa barbara tigre in volto umano? Quanto finora invano e promesse e lusinghe e querele e sospiri, infelice versai! Quale strade intentate, o Dio!, lasciai! Potea per una ingrata avvilirmi di più? Fuggirmi, odiarmi, rifiutarmi, schernirmi! Ah, ch io dovrei, abborrire quell empia, e di me stesso vergognarmi con me per tale eccesso. Perchè farla, eterni Dei, tanto bella agli occhi miei? O perchè non farla ancor che capace sia d amor! Abborrir vorrei l ingrata nè mi sento odio sì forte. Ma una rea che mi da morte è la Dea di questo cor. Martin y Soler,Vicente/Una cosa rara/II-2
https://w.atwiki.jp/hhiro4/pages/12.html
初めに WindaowsXPでの動作環境としてMATLAB2006aを推奨(2007.12) Linuxがデフォルトとなりつつある(2009.1) WinVistaではまだ試験中、今後も多分無理、MacOSでは無理 一部は動くのだが、3D表示や平坦化など重要な部分でのmexエラーがおきる(libraryの問題) Bugが多いため、動かなくても泣かない(永遠のβ版である) Matlabでは問題ないがSPMでは日本語フォントに対応していない。そのため、日本語フォントがついたフォルダのある階層に入ると、フォントが文字化けをおこしてしまい、目的の階層に入れないため注意。 mrVistaは機能画像だけでは走らない mrVistaでは、ざっくりとしたTalairach標準脳(※)を使用せず、vAnatomyという詳細な構造画像ファイル(多くは1x1x1mm程度)と、そこから求められる手動で白質と灰白質、髄液をわけたClass(ification)ファイル、さらにそこから構築される灰白質データGrayファイル(白質表面から自動で3mm(任意に選択可能)の幅で取ってくる)を用いる。これらを軸に別の日に行った実験であっても、正確な位置を同定しながらできるというソフトの性質のためである。そこで、SPM解析とは異なり、InplaneというT1強調画像が必要となる。これは機能画像、つまりfMRIデータと同一平面で撮像されており、できるだけ正確にvAnatomyとfMRIデータをくっつけるという、いわば「のり」のような役目をしている。 ※Talairach標準脳 1人のアル中の白人女性中年女性の脳で、さらにこれは片方の脳を鏡像にして使用しているらしい。SPMでは標準。たくさんの被験者を一気にまとめて解析、表示するのに便利のため、標準脳はポピュラーな手法となっていた。 手順 mrInitRet .magファイルからのデータの抽出。解析の下準備。 mrAlignMI InplaneとvAnatomyの傾きをあわせる。自動。クリックして待つ。駄目な場合はmrAlign3, rxAlign。 mrVista メインパート。データの解析、およびVisualization。構造画像上や立体画像上での脳に着色し結果を分かりやすくする(2D、3D、平坦化した脳地図上) mrVistaでの解析方法いろいろ corAnal - 正弦波によるcross correlation 基本。よっぽど設定、刺激がまちがってなければ何か反応が出る。(もちろんthresholdに依存するが) pRF model - 各ボクセルのBOLD signalから、そこに含まれるneuron群の視野座標の位置および反応サイズを推定し、より精密なretinal representationを描く方法。pRFとは、”population receptive field”の意。xy座標とpRFに対応するσを可変パラメータとして、HRFを畳み込み加算し、各voxelのtime courseに最適fittingするpredictorを作成する。利点として、従来のtraveling wave methodではなかった、刺激途中にblankを設定することにより、大きなpRFをもつvoxelの反応を抽出することができている。 GLM analysis - 一般線形解析。イベントとそれに付随するBOLD signalを予測し、複数の独立変数を用いて、実際のBOLD modulationの説明をする。強力な解析方法でよく用いられる。上記のpRFもGLMに含まれるといえる。 mrInitRet 使用するデータの決定、データ抽出、解析方法の決定 ここではデータを解析できる形に準備する手順を紹介する。 MRI装置を作っている会社によって生データは異なる。 例えばGEならPfile、SiemensはDICOM formatというように。 そこで解析データ作成が異なる。 GEのデータはPfileからtSeriesへと変換される。これはInplaneで定義される平面の一枚毎に時間変化していくデータを持っている。つまりtSeriesデータはInplaneの枚数と同じ数だけある。一方、Siemensデータは、時間毎にファイルが製造される。例えばTR=2000msであれば、2秒間でInplaneが含む全部のスライスを撮像する訳であるが、2秒ごとの全画像が、1Scanで撮像した時間の分だけファイルができるわけである。TR=2000msで2分のデータであれば60ファイルである。 GEデータの解析方法 Rawデータのある階層に移動、mrInitRetと入力。上から3、4、5番目(デフォルト)のボックスにチェックをいれてOK。 Setup Raw / Directory Resize inplane images v Crop inplane images v Create/edit data structures v Extract time series Perform blocked analysis 次のウィンドウもデフォルトでOK。Inplaneの画像が出てくるため、後頭葉を含むように範囲を指定する。画像の左上と右下の2点を決め、一回ずつクリックする。 fMRI Reconstruction ウィンドウでは Descriptionに実験名、 Subjectは被験者名、 FunctionalsのInitial frames to discardに数字を入力、 Functionalsの下にある数字の横のCopy をクリックし、 Acceptする。 Data Type Editor ウィンドウでは、(ウィンドウがせまく上の方が表示されていないので、注意。広げるように) DescriptionにそのScanで何をやったか、 最後のNumber of cycles/scanにそのScanでサイクル数を入力、 Data type copy Copy(select scan number) などがあるので、 これらを使用する。 データのサイクルなど合っていることを確認し、Accept。 Siemensデータの解析方法 煩雑であったが、Dr.Aにより開発されたMatlabソフトウェア、BF(バッチファイルの略らしい)により、手順を覚えれば比較的簡易である。 mrInitRetによりmrSESSIONというファイルが作成され、そのファイルがあるフォルダでのみ、mrVistaによる解析が可能となる。 まず、解析をする場所を決定する。忘却予防のため、多くは生データであるDICOMの入ったフォルダの並んでいるところに作ることが多い。ファイルは非常に巨大化する恐れがあり、間違ってもCドライブで解析しないことをお勧めする。速度では内蔵Dドライブ>外付けHDD>LAN共有HDDの順番であるが、当然容量の余裕はその逆である。 例として、外付けHDDで展開する場合をあげる。 必要なものはMatLab(Ver6.5〜多分7でないと今は動かない)、BF.m、SPM2である。 MatLabウィンドウの上のほうに表示されているカレントディレクトリ/Current Directory(Y)(以下CD)の右にある「…」というボタンをクリックする。 フォルダの参照ウィンドウが出るので、フォルダを選ぶ。 例として、I \fMRI\ABC071022\DEF071022 下記のような生データの入ったフォルダと同じ階層につくることとする。 1-localizer 2-lgx_ep2d_bold96_2x2x3 3-lgx_ep2d_bold96_2x2x3 4-lgx_ep2d_bold96_2x2x3 5-t1_se_tra 6-lgx_ep2d_bold96_2x2x3 MatlabのCommand Window上で BF とタイプしリターン 今のディレクトリは I \fMRI_\ABC071022\DEF071022だけどあってますか? 確かですか?と聞かれるので、あっていればYES。違うならNOでもうCDを一度選択。 最初にrealign(動き補正)と一緒にUnwarp(副鼻腔などの含気した部位による画像の歪み補正)をするかと聞かれる。ただしUnwarpはエラーがでるため、「無しで(without)」を選択する。 realignがかかるのはデフォルト。次に空間Smoothingをかけるか聞かれる。ここは自由に選択をする。YESの場合、FWHMは何mmにするか聞かれるので、数値を入力。Full Width Half Maximumの略、半値全幅である。 するとtSeries(実際にmrVistaで解析するときのfMRIデータの形状)は、Smoothingデータから作るか聞かれるので、選択する。Vistaでの解析はSmoothingがかかっていないデータが推奨される。 その後データの選択を行う。 最初にInplaneのDICOMを選択することとなる。 Select INPLANE with DICOMウィンドウ内で Inplaneが入っているフォルダを選択。そしてInplane画像を選択。横の数字が1−24など、2つの数字がハイフォンでつながっていれば24の画像が選択されている。右の拡張子がdcmであるか確認。誤って左の数字をクリックするとファイルが広がって沢山表示されるが、慌てずにAllを選択する。もちろん他にファイルが存在する場合は必要なものだけを選ぶこと。選択したらDoneをクリック。 次にSelect DICOM files of Session1というウィンドウになるので、 Inplaneの次(無い場合は直前)に撮像した機能画像のフォルダをクリックする。 Inplaneの時と同様に機能画像を選択してDone。これを繰り返す。どのような順番で情報を抽出したかメモしておく方がベターである。忘れた場合も最後にAnalysisNote.docファイルができるので、問題はないが。 全部選んだら、何も選択しないでもう一度Doneをクリック。すると何枚Discardするか聞かれるので、数字を入力する。あとはひたすら待つ。しばらく時間がかかるためゴルフに行くことも可能である。注意すべき点として、解析しているPCの音量を最大にしておくことがあり、これは、ソフトの作成者であるDr.Aから推奨されている。 これでSiemensデータをtSeriesに変換し、mrVistaで走らせることができる形式に変換できた。 できあがったフォルダはVISTA(日付)となっている。Current Directryをそのフォルダ内に移動。 Command Windowで mrInitRet とタイプしリターン。 mrInitRetのGUIが立ち上がる。 Setup Raw/ Directory Resize inplane images Crop inplane images v Create/edit data structures Extract time series Perform blocked analysis とあり、3、4、5番目にチェックがついているが、 4番目のみのチェックにする。 fMRI Reconstruction ウィンドウで Descriptionに実験名 Subjectは被験者名 FunctionalsのInitial frames to discardに数字を入力 Functionalsの下にある数字の横のCopy をクリック Acceptする。 Data Type Editor ウィンドウで DescriptionにそのScanで何をやったか 最後のNumber of cycles/scanにそのScanでサイクル数を入力 ウィンドウがせまく上の方が表示されていないので、広げてやると、 Data type copy Copy(select scan number) などがあるので、 これらを使用する。 データのサイクルなど合っていることを確認し、Accept。 mrAlignMI mrInitRetのあるフォルダでタイプするだけ。 vAnatomyを選んで問いにはYesと答える。 最後にスライスを確認して終了。 High Resolutionで撮ると非常にずれることがある。というかほぼ解剖画像にのらない。 ずれた場合にはもう一度走らせるか、rxAlignという姉妹品を使用する。 これは比較的mrAlign3と似ているが、新しい機能が多くついている。 欠点としては、MEX errorが出易い。その場合は www.dependencywalker.com へ。 mrVista まずは、実験がうまくいっているかを簡単にチェックする方法。正弦波がpredictorとなるようなブロックデザイン刺激を用いた場合、とりあえずAnalysis - Traveling Wave Analyses - Compute corAnal - Compute corAnal (all scans)。正弦波によるcross-correlationなので、coherence threshold(右上)を下げれば、大抵何か反応が出る。出ないときは、まずcycle/Scanが間違っている可能性が高い。 さらに、 Plots - tSeries movie - Movie UIから、 生データをチェックできる。 (スキャン間、スキャン内でどれだけ動いているか、また強い刺激ならBOLD変化が直接わかる) チェックして、スキャン内で動いてないようなら、 Motion Compensation は between scans のみでいい。 (だが多くはigid Body Both Between + Within Scansを念のため施行し、スキャン内の動きを確認することになる) また、セッションを通して全く動いてないようなら、 Motion Compensation はいらないということになる。 GEデータの場合 (SiemensデータはSPMで既にrealignをかけているため不要) まず、Slice timing補正と動き補正をかける。 Analysis - Time series - Adjust slice timing Select Allして、OK。TimedというtSeriesができる。 それほど時間はかからない Motion correction ※必ずInplane windowの右上のData Typeをクリックして、OriginalからTimedに変更すること! Analysis - Motion Compensation - Rigid Body Both Between + Within Scans Betweenはそれほどでもないが、同一スキャン内での動き補正であるWithinが非常に時間がかかる <Siemensはここから一緒である> 同一の刺激を用いたScan同士でAverageをかける Average dataに変更後、Analysis - Traveling Wave Analyses - Compute corAnal - Compute corAnal (all scans) pRF Analysis - the codes written by SOD 詳しくは下記を参照。 Population receptive field estimates in human visual cortex. Dumoulin SO, Wandell BA. NeuroImage. 39(2) 647-660. Evaluated by A Hyvärinen. http //white.stanford.edu/~dumoulin/PDFs/Dumoulin-NI-2008.pdf DataはAveragedでよい。これをxform - Inplane to Volume - tSeries (All Scans) - trilinear を用いて、 tSeries data をgray上に移動する。 Glay window上で Retinotopic model - Set Stimulus Parameters パラメータ設定の例 8Bars stimulus radius (deg) 14 (視覚刺激のサイズ) stimulus width (deg) 90 (刺激の幅が変わる) stimulus starting phase (deg) 0 stimulus direction (boolean) counterclockwise or out Number of stimulus cycles (#) 1 Number of mean-luminance blocks (#) 4 Number of unique stimulus repetitions (#) 1 Number of removed time frames with stimuli (#) 5 Number DCT to remove from data (de-trend, #) 3 HRF type two gammas (SPM style) HRF parameters auto 5.4 5.2 10.8 7.35 0.35 Frame interval (sec) auto 1.5 Number of time frames (#) auto 128 Wedge stimulus radius (deg) 14 stimulus width (deg) 45 stimulus starting phase (deg) 0 stimulus direction (boolean) counterclockwise or out Number of stimulus cycles (#) 6 Number of mean-luminance blocks (#) 4 Number of unique stimulus repetitions (#) 2 Number of removed time frames with stimuli (#) 5 Number DCT to remove from data (de-trend, #) 1 HRF type two gammas (SPM style) HRF parameters auto 5.4 5.2 10.8 7.35 0.35 Frame interval (sec) auto 1.5 Number of time frames (#) auto 96 Ring stimulus radius (deg) 14 stimulus width (deg) 45 stimulus starting phase (deg) 0 stimulus direction (boolean) counterclockwise or out Number of stimulus cycles (#) 6 Number of mean-luminance blocks (#) 4 Number of unique stimulus repetitions (#) 2 Number of removed time frames with stimuli (#) 5 Number DCT to remove from data (de-trend, #) 1 HRF type two gammas (SPM style) HRF parameters auto 5.4 5.2 10.8 7.35 0.35 Frame interval (sec) auto 1.5 Number of time frames (#) auto 96 Plots - Retinotopic Model - View Stimulus aperture 刺激の絵が見れる 念のため上下左右が反転していないか、実際の刺激と違わないか確認。 Retinotopic Model - Coarse stage Retinotopic Model - nonlinear minimization (refine results) Retinotopic Model - Coarse to minimization 上記2つを通しでやる 以上の計算後、 File - Retinotopy Model - Load Model Parameterで Select model 変更しない Select parameter ここを変える variance explained (coherenceに相当) - co eccentricity - map polar angle - ph Select field; 変更しない corAnal の各パラメータに値が入る GLM analysis (General Linear Model 一般線形解析) HRFに任意のタイミングの刺激のonset-offset時間を畳み込み加算(convolution)することにより、Predictor(説明変数)を作成し、BOLD signalを説明するという強力な解析方法。前提としてBOLD signalは線形和が成立するという仮定。pRF methodは、この方法をより進化させた物と考えると分かり易い。 ITKSnap (mrGray2に名前が変わるかも) Cygwin(windows上でLinax環境を使用するソフト)必須。 Net-Open SSHとX11の他に Devel(opperツール)フォルダの中の autoconf 3k autoconf2.1 202k autoconf2.5 791k automake1.10 676k binutils 4815k cvs 709k expat 111k fltk 279k fltk-devel 540k gcc 1k gcc-core 3618k gcc-g++ 2958k gcc-mingw 1k gcc-mingw-core 69k gcc-mingw-g++ 1894k gettext 176k libXft-devel 40k mingw-runtime 272k mktemp11k pcre 172k subversion 1075k 以上を全てチェックしておかないと使用できない。 http //white.stanford.edu/software/downloads/ITKSnap_VISTALab_071217.zip からDL 詳細は http //white.stanford.edu/newlm/index.php/Software cygwinのコマンドプロンプトから、 ITKSnapのあるフォルダに行き(cd ...で指定)下記をタイプ ./insightSNAP *以下番外編(備忘録というよりメモ) Tips Gray map上で他のセッションからcorAnalをもってくる 非常に有用。corAnal onlyは上書きされるので注意。ダミーを作ること。一つずつ移さないとエラーがでるので注意!! mrVistaで用いるデータの構造 INPLANE{1}とかVOLUME{1}とかFLAT{1}を参照して、構造画像上に計算後のデータを重ね合わせるという仕組みになっている。例として、Inplane Viewが開いているときに、MatlabのWorkspaceをみると、mrSESSION, INPLANE, VOLUME, vANATOMYPATHなど複数のセルやらベクトルやらストラクチャーが開いている。 {内}の数字はそのとき開いているウィンドウ名を見れば分かる。大抵は1。複数開いていると2とか3になる Inplaneの場合、 name, viewType, sessionCode,.....etc.といろいろあるが、重要なのは、co, amp, ph, map, の4つと、curDataType, curScan, selectedROIの3つだろう。前者はデータをハッキングして書き換えるときに知っている必要があり、後者はデータを引き抜くときに必要となる。これらの数値(あるいは文字列)を書き換えることと、コマンドウィンドウ上から直接データを抜くことができるようになると大変楽になるので、多少構造を理解しておいた方が良い。 使用しているSPMコードの補足 realign 撮像中のスキャナーにいる4分間、被験者はできるだけ、微動だにしないよう努力している。(結果がずいぶん違うため) しかし、ごくわずかに動いてしまうこともあるだろう。また、ScanとScanの間は、唾を飲んだり深呼吸をしたり、手の位置を少し動かしたりすることもある。そこでrealignで一連のデータを最初に決定した構造画像を軸にぴったりと位置を合わせるのである。似たようなInplaneであれば別の日に取ろうが、一緒のデータとして解析できないことはない。またrealignという言葉は複数の被験者間での平均化をさすこともあるので、われわれのやっている手法の場合(つまり同一被験者内でのスキャン間の動き補正およびスキャン中の動き補正のみ)は、Motion Compensation という言葉を使う方が望ましい。 Linaxノススメ Bobお勧めのUbuntuを使うといい mexエラーが出た場合 コマンドプロンプトで ldd (走らせたい実行形式のファイル) リターン で、どのライブラリがコンパイルされていないか分かる System - Administration - synapticから必要なライブラリを選択(オンラインの必要あり) ダウンロードして完了 Administratorじゃないとできない 以上 (以下は宣伝が鬱陶しいので延々と改行)
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Group Tutoring Concepts and Case Studies Wyn Bramley? Aid in Africa Guy Arnold? Guide to Precious Metals and Their Markets Peter Robbins? Air Conditioning and Energy Conservation A. F. C. Sherratt? Psychology of Written Communication Selected Readings James Hartley? Microcomputers in Secondary Education Proceedings of the Conference of the British Educational Research Association, 1980 Jim Howe?Peter Ross? Green Grows the City The Story of a London Garden Beverley Nichols? Pitfalls and Planning in Student Teaching John Heywood? A Handbook of Game Design Henry Ellington? Changing Priorities in Teacher Education Richard Goodings? Mergers, Motives, Modes, Methods Walter Goldberg? Curriculum Theory in Adult and Lifelong Education Colin Griffin? Video in Higher Education Ortrun Zuber-Skerritt? Case Studies in Game Design Henry Ellington?Eric Addinall?Fred Percival? Mitchell's Movement Control in the Fabric of Buildings Philip Rainger? Construction Project Management Using Small Computers Glen Peters? Marinas A Working Guide to Their Development and Design Donald W. Adie? The London Metal Exchange A Commodity Market Robert Gibson-Jarvie? Designing Instructional Systems A. J. Romiszowski? Behaviour Technology A New Approach to Managing People at Work Michael Wellin? Report Writing for Architects David Chappell? Energy Conservation Equipment Rudolph Maximilian Eugen Diamant? The Skills of Leadership John Eric Adair? Stress in Teaching Jack Dunham? Integrated Programs for Handicapped Adolescents and Adults (Rehabilitation Education a Series in Developmental Handicap, Vol. 1) Roy I. Brown? Developing Auto-Instructional Materials From Programmed Texts to Cal and Interactive Video (Instructional Development, No 2) A. J. Romiszowski? Skills of Human Relations Training A Guide for Managers and Practitioners Leslie Rae? The Future of Urban Form The Impact of New Technology John Brotchie?Peter Newton?Peter Hall?Peter Nijkamp? Designing Instructional Text James Hartley? Computer-Aided Management A Manager's Guide to Profitable Computing Norman Sanders? Guide to World Commodity Markets Gerald Roberts? Multi-Story Buildings in Steel F. Hart?W. Henn?H. Sontag?Bernard Godfrey? Shopping Centre Development Policies and Prospects John A. Dawson?J. Dennis Lord? Games for Social and Life Skills Tim Bond? Industrial Product Innovation Organisation and Management F. A. Johne? International Yearbook of Educational and Instructional Technology, 1986/87 (International Yearbook of Educational and Training Technology) Chris W. Osborne? Dictionary of Instructional Technology (Aett Occasional Publication, No. 6) Henry Ellington?Duncan Harris?N. D. C. Harris? Producing Instructional Systems Lesson Planning for Individualized and Group Learning Activities (Instructional Development, No 1) A. J. Romiszowski? The Skills of Communicating Bill P. Scott? Theoretical and Conceptual Bases of Instructional Design Rita Richey? Multinational Enterprise An Encyclopedic Dictionary of Concepts and Terms Ankie Hoogvelt?Anthony G. Puxty? Landscape Planning (The Built Environment Series) Tom Turner? CAD and Robotics in Architecture and Construction Proceedings of the Joint International Conference at Marseilles, 25-27 June 1986 The Ergonomics Payoff Designing the Electronic Office Rani Lueder? Architectural Design and CAD Yvon Gardan? Challenges in Educational Management Principles into Practice W. F. Dennison? Developing Auto-Instructional Materials From Programmed Texts to Cal and Interactive Video (Instructional Development, No 2) A. J. Romiszowski? Assessing Students How Shall We Know Them? Derek Rowntree? Dictionary of Computing Information Technology A. J. Meadows?M. Gordon?A. Singleton? Teaching Mathematics 5 to 11 David Lumb? Teaching Mathematics 5 to 11 David Lumb? Doing Business in Korea Arthur M. Whitehill? Air Conditioning Impact on the Built Environment A. F. C. Sherratt? Playgrounds The Planning, Design and Construction of Play Environments Peter Heseltine?John Holborn? The Art and Craft of Course Design Tony Earl? Leadership Training Through Gaming Power, People and Problem-Solving Elizabeth M. Christopher?Larry E. Smith? The Marketing Mirage How to Make It a Reality Colin McIver? Simulations A Handbook for Teachers and Trainers Ken Jones? A Business Plan Planning for the Small Business Alan West? Understanding Teenagers' Reading Reading Processes and the Teaching of Literature Jack Thomson? Prolog, Children and Students (Fifth Generation Computing in Education Series) Jon Nichol?Jonathan Briggs?Jackie Dean? Developing Student Autonomy in Learning David Boud? The Skills of Interviewing A Guide for Managers and Trainers Leslie Rae? Corporate Cash Management Philippa L. Back?
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Shadow Boxer A Crime Novel Featuring Billy Nichols (Wheeler Large Print Book Series) Eddie Muller? Tales Of A Drama Queen (Wheeler Large Print Book Series) Lee Nichols? The Sacred Cosmos Christian Faith and the Challenge of Naturalism (Christian Practice of Everyday Life) Terence L. Nichols? The Nitpicker's Guide for Classic Trekkers (The Nitpickers Guide for Classic Trekkers) Phil Farrand?George Takei?Nichelle Nichols?Walter Koenig? Ravenloft Gazetteer (Sword Sorcery) Andrew Cermak?John W. Mangrum?Chris Nichols?Andrew Wyatt? The Nitpicker's Guide for Classic Trekkers (The Nitpickers Guide for Classic Trekkers) Phil Farrand?George Takei?Nichelle Nichols?Walter Koenig? Second Chances Weta Nichols? Not a Sparrow Falls Linda Nichols?Joyce Bean? Not a Sparrow Falls Linda Nichols? Listen to the Wind Tim Nichols? You and Me Against the World Lisa A. Nichols? Successful Adoption A Guide for Christian Families Natalie Nichols Gillespie? No Place to Hide Facing Shame So We Can Find Self-Respect Michael P. Nichols? Islands of Experience Dean Nichols? A Poet's Sketch of His Biography Dean Nichols? Collision Course Susan Nichols Ferrara? Stop Arguing With Your Kids How to Win the Battle of Wills by Making Your Children Feel Heard Michael P. Nichols? Teaching Literacy In First Grade (Tools for Teaching Literacy) James Flood?Kelly Moore?Maria Nichols?Diane Lapp? Teaching Literacy In First Grade (Tools for Teaching Literacy) James Flood?Kelly Moore?Maria Nichols?Diane Lapp? Optimal Digestive Health A Complete Guide Trent W., M.D. Nichols?Nancy Faass? African American Culture Catherine Nichols? African American Culture (Discovering the Arts) Catherine Nichols? The Best of Brussels (Globetrotter Travel Best of Brussels) Fiona Nichols? The Rise And Rise of Richard B. Cheney Unlocking the Mysteries of the Most Powerful Vice President in American History John Nichols? Tragedy and Farce How the American Media Sell Wars, Spin Elections, And Destroy Democracy John Nichols?Robert W. McChesney?Tom Tomorrow? The Genius of Impeachment The Founders' Cure for Royalism John Nichols? The Business Guide An Outline of Business J. L. Nichols? Peace Is a Four-Letter Word Janet Nichols Lynch? Ellen Ochoa Reach for the Stars! (Defining Moments) Donna Latham?Michelle Nichols? Hand-me-down (Wheeler Large Print Book Series) Lee Nichols? Rehearsal for Reconstruction The Port Royal Experiment Willie Lee Nichols Rose? A Sailor's Yarns and Observations Dean Nichols? Two Cats for Puerto Rico Dean Nichols? The Copper Sands and Prince William Sound Dean Nichols? The N.P.M.W.A.R.A. The North Pacific Major World Air Route Area Dean Nichols? Dance of the Little People Michael F. Nichols? Time Taught Me to Fly Russell Nichols? Every Single Good Day A Family Keeps a Promise to a Loving Wife and Mother and Hopes to Help Others Who Face Alzheimer's Disease Max Nichols? Tithes The Extortion of the Body of Christ B. Ann Nichols? York's Journal William Nichols? The Success Code A Revolutionary Plan for Creating a Phenomenal Life! Brendan Nichols? The Tranquil Garden Kay Fairfax?Clive Nichols Quick and Healthy Vegetarian Dishes (Step-by-step) Annie Nichols Planting with Colour Penelope Hobhouse?Nori Pope?Sandra Pope?Clive Nichols Robert Lenkiewicz Keith Nichols Somerset Carnivals Roger Evans?Peter Nichols? The Loire Valley (Signpost Guides) Andrew Sanger?Fiona Nichols?Gillian Thomas?John Harrison? Drive Around Loire Valley Your Guide To Great Drives (Drive Around) Andrew Sanger?Fiona Nichols?Gillian Thomas?John Harrison? Potatoes From Mash to Fries Annie NicholsPeter Myers Paper Dolls of the 1960S, 1970S, and 1980s Identification Value Guide (Identification Values (Collector Books)) Carol Nichols? Potatoes Annie NicholsPeter Myers Healthy Vegetarian (Healthy Life (Southwater)) Annie Nichols A Prison of My Own Diane Nichols? In the Grove of the Druids The Druid Teachings of Ross Nichols Philip Carr-Gomm? Connecting With Kids Through Stories Using Narratives To Facilitate Attachment In Adopted Children Denise B. Lacher?Todd Nichols?Joanne C. May? Andalucia (Globetrotter Travel Guide) Fiona Nichols? Globetrotter Travel Guide Andalucia (Globetrotter Travel Packs) Fiona Nichols? The History of the Green Bay Packers (NFL Today) John Nichols? The 18th Division in the Great War G. H. F. Nichols? Last Letters of Jacopo Ortis and of Tombs (Hesperus Classics) Valerio Massimo?Ugo Foscolo?F. G. Nichols? Life of a Good-For-Nothing (Hesperus Classics) Joseph Von Eichendorff?F. G. Nichols? Thoughts and the Broom (Hesperus Classics) Edoardo Albinati?Giacomo Leopardi?J. G. Nichols? Prophecies (100 Pages) da Vinci Leonardo?J. G. Nichols? Loveless Love (Hesperus Classics) Luigi Pirandello?J. G. Nichols? New Life (Hesperus Classics) Dante Alighieri?J. G. Nichols? The Book of the Virgins (100 Pages) Gabriele D Annunzio?J. G. Nichols? A Perfect Hoax (100 Pages) Italo Svevo?J. G. Nichols? The Divine Comedy Inferno (Hesperus Poetry Series) Dante Alighieri?J. G. Nichols? Loveless Love (Modern Voices Series) Luigi Pirandello?J. G. Nichols? Startling the Flying Fish Grace Nichols? Poacher's Daughter, The Mary Nichols? The Contented Vegetarian Over 100 Tempting and Nutritious Step-by-Step REcipes for Quick, Easy and Healthy Dining Matthew Drennan?Annie Nichols Globetrotter Travel Guide Mexico (Globetrotter Travel Packs) Fiona Nichols? Globetrotter Rome and the Vatican (Globetrotter Travel Packs) Fiona Nichols? Rome and the Vatican (Globetrotter Travel Pack) Fiona Nichols? Satie Remembered Robert Orledge?Roger Nichols? Migrant Nurses Motivation, Integration And Contribution Roswyn Hakesley-Brown?Barbara L. Nichols?Andrea Winkelmann-Gleed? The 18th Division in the Great War G. H. F Nichols? Down the Garden Path Beverley Nichols? Come to the Feast Simon Kershaw?Bridget Nichols?Gill Ambrose? Arthur Honegger Harry Halbreich?Reinhard G. Pauly?Roger Nichols? Lazy Thoughts of a Lazy Woman And Other Poems Grace Nichols? Holy Order The Apostolic Ministry from the New Testament to the Second Vatican Council (Oscott Series, 5) Aidan Nichols? Classic American Cars Richard Nichols? Michael Graves Karen Vogel Nichols? Diaries 1969-1977 Peter Nichols? Passion Play Peter Nichols? So Long Life Peter Nichols? Number Parade Jackie Kay?Grace Nichols?John Agard?Nick Toczek?Mike Rosen? The Book of Druidry Ross Nichols?John Matthews?Philip Carr-Gomm? Encyclopedia of the Korean War A Political, Social, and Military History Spencer C. Tucker?Jinwung Kim?Michael R. Nichols?Paul G., Jr. Peirpaoli?Priscilla D. Roberts?Norman R. Zehr? Harvard Business Review on Effective Communication (Harvard Business Review Paperback Series) Ralph G. Nichols?Leonard A. Stevens?Fernando Bartolome?Chris Argyris? Frozen in Time The Enduring Legacy of the 1961 U.S. Figure Skating Team Nikki Nichols? Silk Stalkings More Women Write of Murder Victoria Nichols?Susan Thompson? Ending Marriage, Keeping Faith A New Guide Through the Spiritual Journey of Divorce J. Randall Nichols? Color by Design Planting the Contemporary Garden Nori Pope?Sandra Pope?Clive NicholsPenelope Hobbhouse? Color in the Garden Planting With Color in the Contemporary Garden Penelope Hobhouse?Nori Pope?Sandra Pope?Clive Nichols Cider Making, Using Enjoying Sweet Hard Cider Annie Proulx?Lew Nichols? Heaven on Earth Capturing Jonathan Edwards's Vision of Living in Between Stephen J. Nichols? Reformation How a Monk and a Mallet Changed the World Stephen J. Nichols? It's the Media, Stupid (Open Media Pamphlet Series) Robert McChesney?John Nichols? Our Media, Not Theirs The Democratic Struggle Against Corporate Media (Open Media Series) Robert W. McChesney?John Nichols? The History of the Charlotte Sting (Women's Pro Basketball Today) John Nichols? The History of the Cleveland Rockers (Women's Pro Basketball Today) John Nichols? Arizona Cardinals (NFL Today) John Nichols? Baltimore Ravens (NFL Today) John Nichols? Buffalo Bills (NFL Today) John Nichols? Carolina Panthers (NFL Today) John Nichols? Chicago Bears (NFL Today) John Nichols? Cincinnati Bengals (NFL Today) John Nichols? Dallas Cowboys (NFL Today) John Nichols? Denver Broncos (NFL Today) John Nichols? Green Bay Packers (NFL Today) John Nichols?Michael E. Goodman? The History of the Atlanta Hawks (Pro Basketball Today) John Nichols? The History of the Charlotte Hornets (Pro Basketball Today) John Nichols? The History of the Cleveland Cavaliers (Pro Basketball Today) John Nichols? The History of the Los Angeles Lakers (Pro Basketball Today) John Nichols? The History of the Milwaukee Bucks (Pro Basketball Today) John Nichols? The History of the Minnesota Timberwolves (Pro Basketball Today) John Nichols? The History of the Arizona Diamondbacks (Baseball (Mankato, Minn.).) John Nichols? The History of the Baltimore Orioles (Baseball (Mankato, Minn.).) John Nichols? The History of the Florida Marlins (Baseball (Mankato, Minn.).) John Nichols? The History of the Tampa Bay Devil Rays (Baseball (Mankato, Minn.).) John Nichols? Toronto Maple Leafs (Stanley Cup Champions) John Nichols? The History of the Colorado Avalanche (Stanley Cup Champions) John Nichols? Philadelphia Flyers (Stanley Cup Champions) John Nichols? The History of the Baltimore Ravens (NFL Today) John Nichols? The History of the Buffalo Bills (NFL Today) John Nichols? Starting Small, Investing Smart What to Do With $5 to $5000 Donald R. Nichols? Developments in Pressure Vessel Technology Inspection and Testing R. W. Nichols? Index of Images in English Manuscripts from Chaucer to Henry VIII Bodleian Library Oxford (Bodleian Library Fascile) Ann Eljenholm Nichols?Kathleen L. Scott?Michael T. Orr? An Index of Images in Engish Manuscripts from the Time of Chaucer to Henry VII C. 1380-C. 1509 The Bodleian Library, Oxford Mss Dodsworth-Marshall (An Index of Images in English Manuscripts from Chaucer to Henry VIII, 2) Ann Eljenholm Nichols?M. T. Orr?L. Dennison?Kathleen L. Scott? Carbohydrate and Calorie Counter (Handbag) Anthea Nichols? The View from Eternity Vaughan Shelton? Neither Apes Nor Angels Full-Length History of Mankind Vaughan Shelton? The Amazing L.A. Environment A Handbook for Change Mary D. Nichols?Stanley Young?Thomas C. Whittemore? Webster's Dictionary V. Nichols? Patterns in Practice Selections from the Journal of Museum Education Susan K. Nichols? The Genesis of Your Genealogy Step-By-Step Instruction for the Beginner in Family History Elizabeth L., A.G. Nichols? Genealogy in the Computer Age Understanding Family Search Elizabeth L. Nichols? Genealogy in the Computer Age Understanding Family Search Elizabeth L. Nichols? The Genesis of Your Genealogy Step-By-Step Instruction for the Beginner in Family History Elizabeth L. Nichols? Primary Education Thinking Skills Curriculum - 3 Jody Nichols?Sally Thomson?Margaret Wolfe?Dodie Merritt? An Actor's Guide Your First Year in Hollywood Michael Saint Nicholas?Michael Saint Nichols? Common Sense Math for Kindergartners/Book, Blocks, and Colored Disks Yuriko Nichols? Mathematics Dictionary and Handbook Eugene D. Nichols?Sharon L. Selwartz? Mathematics Dictionary and Handbook Eugene D. Nichols? Thomas Jefferson's Architectural Drawings Frederick Doveton Nichols? Natural Areas in Indiana and Their Preservation Alton A. Lindsey?Damian V. Schmelz?Stanley A. Nichols? Taking the Step Up to Supervisor (Ami How-To) Geoff Nichols?Karen M. Miller? Professional Meeting Management Barbara Nichols? The Measure of a Boy Walter H. Nichols?Lorenz C. Braren? Media Relations in Sport (Sport Management Library) William Nichols?Patrick Moynahan?Allan Hall?Janis Taylor? The Plaza, First and Always William S. Worley?Miller Nichols? A Collection of All the Wills, Now Known to Be Extant, of the Kings and Queens of England, Princes and Princesses of Wales, and Every Branch of the With Explanatory Notes and a Glossary J. Nichols? Bev's Collectibles A Guide to Building Your Own Valuable Collections Beverly B. Nichols? The Larry Nichols Story Damage Control How to Get Caught With Your Pants Down and Still Get Elected President David M. Bresnahan? The Go-Betweens David Nichols? Let the Faces Speak Peter Nichols? Exotic Travel Destinations for Families Jennifer M. Nichols?Bill Nichols? Gender, Aging and the State Barbara Nichols?Peter Leonard? Gender, Aging and the State (Monographs School of Social Work, No 3) Barbara Nichols?Peter Leonard? Mysteries Make You Think (Theory into Practice) David Leat?Adam Nichols Planting Companions Jill Billington?Clive Nichols Potatoes Annie Nichols The Canti With a Selection of His Prose With a Selection of His Prose (Centenary Edition) Giacomo Leopardi?J. G. Nichols? The Complete Astral Traveller Christopher Nichols? Canzoniere (Fyfield Books) Francesco Petrarca?J. G. Nichols? Herbie Nichols The Unpublished Works 27 Jazz Masterpieces Roswell Rudd? The Genes of Wrath Gregory P. Mandanis?Alan Carmone?Tryphon Nichols? A Spirituality for the Twenty First Century Aidan Nichols? Four Arrows Squadron A Novel of the Great War Joel T. Nichols? The Warriors' Rest Joel T. Nichols? The Third Dawn Thomas J. Nichols? The Best Of Field Stream J. I. Merritt?Margaret G. Nichols? Requiem James Nichols? Sunburst's Citadel Therese Nichols? Halcyon Gabriele D Annunzio?J. G. Nichols? The Grand Louvre A Museum Transfigured 1981-1993 Emile Biasini?Jean Lebrat?Dominique Bezombes?Jean-Michel Vincent? Indo-European and the Indo-Europeans A Reconstruction and Historical Analysis of a Proto-Language and a Proto-Culture Thomas V. Gamkrelidze?Vjaceslav V. Ivanov?Werner Winter?Johanna Nichols
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Combining Automated and Supervised Tracking It can be helpful to combine automated tracking with some supervised trackers, especially when you would like to use particular features in the image to define the coordinate system, to help the automated tracker with problematic camera motions, to aid scene modeling, or to stabilize effects insertion at a particular location. Guide Trackers Guide Trackers are supervised trackers, added before automated tracking. Pre-existing trackers are automatically used by the automated tracking system to re-register frames as they move. With this guidance, the automated tracking system can accommodate more, or crazier, motions than it would normally expect. Unless the overall feature motion is very slow, you should always add multiple guide trackers distributed throughout the image, so that at any location in the image, the closest guide tracker has a similar motion. [The main exception if you have a jittery hand-held shot where, if it was stabilized, the image features actually move rather slowly, you can use only a single guide tracker.] Note guide trackers are rarely necessary, and are processed differently than in previous versions of SynthEyes. Supervised Trackers, After Automated Tracking You can easily add supervised trackers after running the automated tracker. Create the trackers from the Tracker panel, adjust the coordinate system settings as needed, then, on the Solver Panel, switch to Refine mode and hit Go! Converting Automatic Trackers to Supervised Trackers Suppose you want to take an automatically-generated tracker and modify it by hand. You may wish to improve it perhaps to extend it earlier or later in the shot, or to patch up a few frames where it gets off track. From the Tracking Control Panel , select the automatically-generated tracker(s) you want to work on, and unlock them. This converts them to supervised trackers and sets up a default search region for them. You can also use the To Golden button on the Feature Control Panel to turn selected trackers from automatic to supervised without unlocking them (and without setting up a search region). Sometimes, you may wish to convert a number of automatic trackers to supervised, possibly add some additional trackers, and then get rid of all the other automatically-generated trackers, leaving you with a well-controlled group of supervised trackers. The Delete Leaden button on the Feature Control Panel will delete all trackers that have not been converted to golden. You can also use the Combine trackers item on the Track Menu to combine a supervised tracker with an automatically-generated one, if they are tracking the same feature. The Track/Fine-tune Trackers menu item re-tracks supervised trackers, to improve accuracy on some imagery.
https://w.atwiki.jp/katsuhiro/pages/26.html
HTTPメソッド GET情報取得メソッド POST PUT DELETEリソース削除メソッド HTTPリクエスト ポストデータ HTMLのPOST指定のformから送信されるデータ JSPのrequestオブジェクトから下記のメソッドで情報を取得できるgetParameter getParameterValues リクエストボディのセットされて送信される クエリ情報 URLの末尾の"?"以降に「キー=値」のセットで付加される簡易な情報 複数のセットがある場合は" "で連結される URLに直接指定するほか、HTMLのGET指定のformから送信されるデータ formのmethod属性が省略された場合もクエリ情報として送信される JSPのrequestオブジェクトから下記のメソッドで情報を取得できるgetParameter クエリ情報に特殊文字が含まれる場合は、あらかじめエンコードしておく必要がある(form経由の場合はエンコード不要) URLに使用可能な文字数を超えて送信できない(2,083文字)FireFoxの場合は制限が無いが、動作が遅くなる場合もあるらしい データがアドレス欄に露出してしまう ヘッダ情報 「名前: 値」形式 種類一般ヘッダ(要求/応答時双方で利用) エンティティヘッダ(コンテンツに関する情報) リクエスト(要求)ヘッダ(クライアントに関する情報) レスポンス(応答)ヘッダ(その他) JSPのrequestオブジェクトから下記のメソッドで情報を取得できるgetHeaderNames ただし、情報取得専用メソッドが存在するヘッダについてはそちらを使う ■ヘッダ例 種類 ヘッダ名 概要 一般 Cache-Control キャッシュルールを規定する Connection プロキシ(中間)サーバで削除すべきHTTPヘッダを指定 Date コンテンツ生成日時 Pragma キャッシングを利用するか(下位互換用のヘッダ) Transfer-Encoding コンテンツの転送エンコーディング方式 リクエスト Accept クライアント対応コンテンツの種類(優先順) Accept-Language クライアント対応言語(優先順) Authorization 認証情報 Cookie クライアントに保存されたクッキーデータを送信 Host 要求先ホスト名 If-Modified-Since 指定日時以降にコンテンツが更新されている場合にのみ、サーバはデータを送信 Proxy-Authorization プロキシサーバ用の認証情報 Range 要求リソース範囲 Referer リンク元URI User-Agent クライアントの種類 レスポンス ETag リソースを一意に特定するためのキー情報(コンテンツが更新されていないかどうかを特定する場合などに使用) Location クライアントに新しいURIに移動するように促す Server サーバの種類 Set-Cookie クライアントにクッキーを送信 WWW-Authenticate クライアントに認証を要求 エンティティ Content-Encoding コンテンツのエンコーディング方式 Content-Length コンテンツサイズ Content-Type コンテンツの種類 Expires コンテンツの有効期限 Last-Modified コンテンツの最終更新年月日 クッキー サーバがクライアントに対して自由に読み書きできるテキスト クッキーの有効期限負数をセットした場合、ブラウザの終了時に削除される 0をセットした場合、その場で削除される 1以上をセットすると、その秒数分保持される クッキーのデメリットクライアント側でクッキーを受け入れないように設定することが可能 クライアント側でクッキーの改竄や削除が可能 実データがネットワーク上を流れてしまう クッキーの制約1つのホスト、ドメイン当たりの最大個数は20個(総数では300個以内) クッキー1つあたりの最大サイズは4096バイト セッション情報 長期間にわたって情報を保持するには不向き ユーザがブラウザを開いている間だけアプリケーション内で情報を受け渡しする場合にはクッキーより手軽でセキュアな仕組み sessionJSPの暗黙オブジェクトの1つ 下記のメソッドを使って読み書きするgetAttribute setAttribute @pageディレクティブのsession属性がfalseの場合は使えない sessionが不要の場合はsession属性をfalseにしておく(サーバリソースの節約) sessionを使うと… クライアントからサーバにリクエスト送信 サーバからのレスポンスにSet-Cookieヘッダの値としてセッションIDが付加される(JSESSIONID) クライアントからサーバに2回目以降のリクエスト送信時、Cookieヘッダの値として、受け取ったJSESSIONIDを付加して送る サーバをそのセッションIDに該当するセッションを使って処理をし、レスポンスを返す セッションの破棄方法明示的な破棄(session.invalidate()) 有効期限を設定する(session.setMaxInactiveInteval()) web.xmlにセッションの有効期限を設定する session-config session-timeout セッションの寿命明示的に破棄されるか有効期限を過ぎない限り、クライアントを閉じてもサーバ上で生き続ける ieHTTPHeaders http //www.blunck.info/iehttpheaders/iehttpheaders.html ⇒IE上でHTTPによる通信内容をトレースするツール
https://w.atwiki.jp/elvis/pages/1618.html
Picnics Delicious Recipes for Outdoor Entertaining Sara DeseranJonelle Weaver Sake A Modern Guide Beau TimkenSara DeseranScott Peterson Asian Vegetables From Long Beans to Lemongrass, a Simple Guide to Asian Produce, Plus over 50 Delicious, Easy Recipes Sara DeseranRichard Jung?