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  Water Management Evidence Stationery Office?　 StationeryOffice?　ジャンル別?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Law-Environmental&NaturalResourcesLaw?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Nonfiction-Law-Environmental&NaturalResourcesLaw?　Subjects-Outdoors&Nature-NaturalResources-WaterSupply&LandUse?　Subjects-Outdoors&Nature-Environment-WaterSupply?　 Subjects-Professional&Technical-Law-Environmental&NaturalResourcesLaw?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Science-Nature&Ecology-WaterSupply&LandUse?　Subjects-Science-Nature&Ecology-Environment-WaterSupply? 22e from the Field (Rural Development Forestry Network Paper) Overseas Development Institute?　C.D. Langoya?　Catherine Long?　Isla Grundy?　Gus le Breton?　Raquel Mejia?　Rene Benitez?　 OverseasDevelopmentInstitute?　C.D.Langoya?　CatherineLong?　IslaGrundy?　GusleBreton?　RaquelMejia?　ReneBenitez?　Substores-UnknownASINs-24?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Ecology-LivingontheLand?　Subjects-Outdoors&Nature-NaturalResources-Forests&Forestry?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Science-Nature&Ecology-NaturalResources-Forests&Forestry? 19e from the Field (Rural Development Forestry Network Paper) Overseas Development Institute?　Patricia Shanley?　Lucy Emerton?　Michael Vabi?　et al?　Danagro Adviser A/S?　 OverseasDevelopmentInstitute?　PatriciaShanley?　LucyEmerton?　MichaelVabi?　etal?　DanagroAdviserA/S?　Substores-UnknownASINs-24?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-NaturalResources-Forests&Forestry?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Science-Nature&Ecology-NaturalResources-Forests&Forestry? Rural Growth in Western States Economic Development and Environmental Protection Natl Conference of State?　William Paul Wanker?　Larry B. Morandi?　Justin A. Worthley?　National Conference of State Legislatures?　 NatlConferenceofState?　WilliamPaulWanker?　LarryB.Morandi?　JustinA.Worthley?　NationalConferenceofStateLegislatures?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-SocialSciences-Sociology-History?　Subjects-Nonfiction-SocialSciences-Sociology-Communities?　Subjects-Nonfiction-UrbanPlanning&Development-General?　Subjects-Nonfiction-UrbanPlanning&Development-RuralPlanning?　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Reference-General? Environmental Conflict In Search of Common Ground State Univ of New York Pr?　Jeffrey J. Pompe?　James R. Rinehart?　 StateUnivofNewYorkPr?　JeffreyJ.Pompe?　JamesR.Rinehart?　Subjects-Business&Investing-Economics-Development&Growth?　Subjects-Business&Investing-Economics-SustainableDevelopment?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Business&Investing-General?　Subjects-Nonfiction-Economics-Development&Growth?　Subjects-Nonfiction-Economics-SustainableDevelopment?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Environment-Conservation?　 Subjects-Professional&Technical-Accounting&Finance-Economics-Development&Growth?　 Subjects-Professional&Technical-Accounting&Finance-Economics-SustainableDevelopment?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Science-Nature&Ecology-Environment-Conservation?　Subjects-Science-Technology-RenewableEnergy? Ecosystem Management Lessons from Around the World Island Pr?　Jean-Yves Pirot?　Peter-John Meynell?　Danny Elder?　 IslandPr?　Jean-YvesPirot?　Peter-JohnMeynell?　DannyElder?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Business&Investing-General?　 Subjects-Business&Investing-Industries&Professions-RealEstate-General?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Fauna-Wildlife?　Subjects-Outdoors&Nature-Conservation-General?　Subjects-Outdoors&Nature-Ecology-LivingontheLand?　Subjects-Outdoors&Nature-Ecology-General?　Subjects-Outdoors&Nature-Environment-Conservation?　 Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-RealEstate-General?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　 Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Ecology?　Subjects-Science-EarthSciences-Ecology-General?　Subjects-Science-Nature&Ecology-General?　Subjects-Science-Nature&Ecology-Animals-Wildlife?　Subjects-Science-Nature&Ecology-Environment-Conservation? Oil in Asia Markets, Trading, Refining, Deregulation (Oxford Institute for Energy Studies) Oxford Univ Pr?　Paul Horsnell?　 OxfordUnivPr?　PaulHorsnell?　ジャンル別?　Subjects-Business&Investing-Biographies&Primers-Policy&CurrentEvents?　Subjects-Business&Investing-Economics-Development&Growth?　Subjects-Business&Investing-Economics-International?　Subjects-Business&Investing-Economics-EconomicPolicy&Development?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Business&Investing-General?　Subjects-Business&Investing-Industries&Professions-Oil&Energy?　Subjects-Engineering-General?　Subjects-Nonfiction-Economics-Development&Growth?　Subjects-Nonfiction-Economics-International?　Subjects-Nonfiction-Economics-EconomicPolicy&Development?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Professional&Technical-Engineering-General　 Subjects-Professional&Technical-Accounting&Finance-International-Economics?　 Subjects-Professional&Technical-Accounting&Finance-Economics-Development&Growth?　 Subjects-Professional&Technical-Accounting&Finance-Economics-EconomicPolicy&Development?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　 Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Biology-MarineBiology?　Subjects-Science-General　Subjects-Science-Nature&Ecology-Oceans&Seas-MarineBiology-General? Oekologische Strategien Deutschland / Japan. Umweltvertraegliches Wirtschaften im Vergleich Leske u. B., Vlg., L.?　Gesine Foljanty-Jost?　 Leskeu.B.,Vlg.,L.?　GesineFoljanty-Jost?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-ForeignLanguageNonfiction-German?　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Environmental Dimension in Development Planning (Libros De La CEPAL) United Nations Pubns?　Osvaldo Sunkel?　Latin American Institute for Economic and Social Planning?　United Nations Environment Programme?　United Nations Economic Commission for Latin America?　 UnitedNationsPubns?　OsvaldoSunkel?　LatinAmericanInstituteforEconomicandSocialPlanning?　UnitedNationsEnvironmentProgramme?　UnitedNationsEconomicCommissionforLatinAmerica?　Substores-UnknownASINs-55?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources The Business Environmental Handbook (Psi Successful Business Library) Oasis Pr?　Marty Westerman?　Melody Joachims?　 OasisPr?　MartyWesterman?　MelodyJoachims?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Business&Investing-General?　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Umweltbewusstsein und Alltagshandeln. Eine empirische Untersuchung sozial-kultureller Orientierungen Leske u. B., Vlg., L.?　Angelika Proferl?　Karin Schilling?　Karl-Werner Brand?　 Leskeu.B.,Vlg.,L.?　AngelikaProferl?　KarinSchilling?　Karl-WernerBrand?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-ForeignLanguageNonfiction-German?　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources The Global Environment Brooks/Cole Pub Co?　Clevland Caven?　Ann Caven?　 Brooks/ColePubCo?　ClevlandCaven?　AnnCaven?　ジャンル別?　Substores-UnknownASINs-5?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Environment-EnvironmentalScience　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Science-EarthSciences-EnvironmentalScience　Subjects-Science-General Uk Energy Policy and the World Market Oxford Univ Pr (Txt)?　Paul Horsnell?　Gordon Mackerron?　Peter Pearson?　 OxfordUnivPr(Txt)?　PaulHorsnell?　GordonMackerron?　PeterPearson?　ジャンル別?　Subjects-Business&Investing-Economics-Exports&Imports?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Business&Investing-General?　Subjects-Business&Investing-Industries&Professions-Oil&Energy?　Subjects-Engineering-General?　 Subjects-Nonfiction-SocialSciences-PoliticalScience-LevelsofGovernment-FederalGovernment?　Subjects-Nonfiction-Economics-Exports&Imports?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Professional&Technical-Engineering-General　 Subjects-Professional&Technical-Accounting&Finance-Economics-Exports&Imports?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources The Ecology of Hope Communities Collaborate for Sustainability New Society Pub?　Ted Bernard?　Jora M. Young?　 NewSocietyPub?　TedBernard?　JoraM.Young?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-SocialSciences-Anthropology-Cultural?　Subjects-Nonfiction-SocialSciences-Sociology-General?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Ecology-General?　Subjects-Outdoors&Nature-Environment-EnvironmentalScience　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　 Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience?　Subjects-Science-EarthSciences-EnvironmentalScience　Subjects-Science-EarthSciences-Ecology-General?　Subjects-Science-Nature&Ecology-General?　Subjects-Science-Technology-RenewableEnergy? The Third World in Global Environmental Politics (Issues in Third World Politics) Lynne Rienner Pub?　Marian A. L. Miller?　 LynneRiennerPub?　MarianA.L.Miller?　Subjects-Business&Investing-Economics-NaturalResources　 Subjects-Business&Investing-Industries&Professions-RealEstate-General?　Subjects-Nonfiction-Politics-General?　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-RealEstate-General?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Futures for the Mediterranean Basin The Blue Plan Oxford Univ Pr (Txt)?　Michel Grenon?　Michel Batisse?　 OxfordUnivPr(Txt)?　MichelGrenon?　MichelBatisse?　ジャンル別?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Business&Investing-General?　Subjects-Nonfiction-SocialSciences-HumanGeography?　Subjects-Nonfiction-UrbanPlanning&Development-General?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Ecology-LivingontheLand?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Environmental Performance Reviews (Environmental Performance Reviews) OECD (Organisation for Economic Co-Operation & Dev?　Organization for Economic Co-operation and Development?　 OECD(OrganisationforEconomicCo-Operation&Dev?　OrganizationforEconomicCo-operationandDevelopment?　Subjects-Business&Investing-Economics-Development&Growth?　Subjects-Business&Investing-Economics-EconomicPolicy&Development?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-Economics-Development&Growth?　Subjects-Nonfiction-Economics-EconomicPolicy&Development?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Conservation-General?　Subjects-Outdoors&Nature-Environment-Conservation?　 Subjects-Professional&Technical-Accounting&Finance-Economics-Development&Growth?　 Subjects-Professional&Technical-Accounting&Finance-Economics-EconomicPolicy&Development?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Science-Nature&Ecology-Environment-Conservation? Leading the Change Sustainability As Competitive Advantage New Society Pub?　Sue Hall?　 NewSocietyPub?　SueHall?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Business&Investing-General?　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Responding to Climate Change Selected Economic Issues Organization for Economic?　Organization for Economic Co-operation and Development?　 OrganizationforEconomic?　OrganizationforEconomicCo-operationandDevelopment?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Engineering-Civil-Environmental-Pollution-Air?　Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare?　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Engineering-Civil-Environmental-Pollution-Air?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Science-EarthSciences-Climatology-ClimateChanges?　Subjects-Science-Physics-General? Leading the Change Sustainability As Competitive Advantage New Society Pub?　Sue Hall?　 NewSocietyPub?　SueHall?　Substores-UnknownASINs-26?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Business&Investing-General?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Environment-Conservation?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Science-Nature&Ecology-Environment-Conservation? Amazonia and Siberia Legal Aspects of the Preservation of the Environment and Development in the Last Open Spaces (International Environmental Law) Graham & Trotman?　Thomas Kurzidem?　Michael Bothe?　Christian Schmidt?　 Graham&Trotman?　ThomasKurzidem?　MichaelBothe?　ChristianSchmidt?　ジャンル別?　Substores-UnknownASINs-38?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Law-Environmental&NaturalResourcesLaw?　Subjects-Law-PrivateLaw?　Subjects-Law-General?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Nonfiction-Law-Environmental&NaturalResourcesLaw?　Subjects-Nonfiction-Law-PrivateLaw?　Subjects-Nonfiction-Law-General?　Subjects-Outdoors&Nature-Environment-EnvironmentalScience　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　 Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience?　Subjects-Science-EarthSciences-EnvironmentalScience Reducing Environmental Pollution Looking Back, Thinking Ahead An Examination of Oecd Member Country Progress, Trends and Opportunities for Accele (Oecd Documents) Organization for Economic?　Organisation for Economic Co-Operation and Development?　 OrganizationforEconomic?　OrganisationforEconomicCo-OperationandDevelopment?　Substores-UnknownASINs-55?　Subjects-Business&Investing-Economics-NaturalResources　 Subjects-Nonfiction-SocialSciences-PoliticalScience-LevelsofGovernment-FederalGovernment?　Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Environment-EnvironmentalScience　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　 Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience?　Subjects-Science-EarthSciences-EnvironmentalScience Iea/Oecd Scoping Study Energy and Environmental Technologies to Respond to Global Climate Change Concerns Organization for Economic?　Oecd?　 OrganizationforEconomic?　Oecd?　ユーズドブック(洋書)-Business&Investing?　ユーズドブック(洋書)-Engineering　ユーズドブック(洋書)-Outdoors&Nature　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Business&Investing-General?　Subjects-Engineering-Civil-Environmental-General　Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Conservation-General?　Subjects-Outdoors&Nature-Ecology-LivingontheLand?　Subjects-Outdoors&Nature-Environment-EnvironmentalScience　 Subjects-Professional&Technical-Engineering-Civil-Environmental-General　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　 Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience?　 Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Meteorology-General?　Subjects-Science-EarthSciences-EnvironmentalScience　Subjects-Science-EarthSciences-Meteorology-General?　Subjects-Science-EarthSciences-Climatology-General?　Subjects-Science-EarthSciences-Climatology-ClimateChanges? Community Management Asian Experience and Perspectives (Library of Management for Development) Kumarian Pr Inc?　David C. Korten?　 KumarianPrInc?　DavidC.Korten?　Substores-UnknownASINs-31?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-SocialSciences-Sociology-Marriage&Family?　Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare?　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources People-Centered Development Contributions Toward Theory and Planning Frameworks (Kumarian Press Library of Management for Development) Kumarian Pr Inc?　David C. Korten?　Rudi Klauss?　 KumarianPrInc?　DavidC.Korten?　RudiKlauss?　Substores-UnknownASINs-31?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Environmental Ecology The Ecological Effects of Pollution, Disturbance, and Other Stresses Academic Pr?　Bill Freedman?　 AcademicPr?　BillFreedman?　ジャンル別?　Substores-UnknownASINs-5?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Engineering-Civil-Environmental-Pollution-Air?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Ecology-General?　 Subjects-Professional&Technical-Engineering-Civil-Environmental-Pollution-Air?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　 Subjects-Professional&Technical-Medical-Administration&MedicineEconomics-PublicHealth-Environmental?　Subjects-Science-EarthSciences-Ecology-General?　Subjects-Science-Nature&Ecology-General?　Subjects-Science-BiologicalSciences-Biology-General? Competitive Agricultural Technology Funds in Developing Countries (ODI Research Study) Overseas Development Institute?　Gerard J. Gill?　Diana Carney?　 OverseasDevelopmentInstitute?　GerardJ.Gill?　DianaCarney?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　 Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-General?　Subjects-Science-AgriculturalSciences? Leistungen und Grenzen des EG - Umweltschutzes Ubooks GbR?　Hans Dieter Jarass?　Lothar F. Neumann?　Andreas Pastowski?　Hans-Joachim von der Ruhr?　Frank Schreiber?　 UbooksGbR?　HansDieterJarass?　LotharF.Neumann?　AndreasPastowski?　Hans-JoachimvonderRuhr?　FrankSchreiber?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-ForeignLanguageNonfiction-German?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Environment-EnvironmentalScience　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Science-EarthSciences-EnvironmentalScience Pollution Control in a Developing Economy Ghana Universities Press?　S.B. Akuffo?　 GhanaUniversitiesPress?　S.B.Akuffo?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Engineering-Civil-Environmental-General　Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare?　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Engineering-Civil-Environmental-General　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Global 2000 Report to the President of the United States Elsevier?　G.O. Barney?　 Elsevier?　G.O.Barney?　ジャンル別?　Subjects-Business&Investing-Economics-NaturalResources　 Subjects-Business&Investing-Industries&Professions-RealEstate-General?　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-RealEstate-General?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Gender and Pastoralism in the Horn of Africa An Overview of the Gender Roles in the Pastoral Economy Red Sea Pr?　Hirut Terefe?　Sadia Ahmed?　 RedSeaPr?　HirutTerefe?　SadiaAhmed?　Subjects-Business&Investing-Economics-EconomicPolicy&Development?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-History-Africa-AfricanStudies?　Subjects-Nonfiction-Economics-EconomicPolicy&Development?　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Economics-EconomicPolicy&Development?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Religion&Spirituality?　Substores-UnknownASINs-jp-unknown3? Renewable Energy Strategies for Europe Brookings Inst Pr?　Michael Grubb?　 BrookingsInstPr?　MichaelGrubb?　Substores-UnknownASINs-57?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Science-General The Flow and Distribution of Costs and Benefits in the Chuliban Community Forest, Dhankuta District, Nepal / Aerial Photographs and Photo-Maps for Community Forestry / Participatory Monitoring of Forest Resources Current Methodologies Being Developed in Thailand (Rural Development Forestry Network Paper) Overseas Development Institute?　M.R. Maharjan?　Richard Mather?　Martin de Boer?　Meena Gurung?　Nick Roche?　Joanna Fuller?　 OverseasDevelopmentInstitute?　M.R.Maharjan?　RichardMather?　MartindeBoer?　MeenaGurung?　NickRoche?　JoannaFuller?　Substores-UnknownASINs-24?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-NaturalResources-Forests&Forestry?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Science-Nature&Ecology-NaturalResources-Forests&Forestry? Oil Exploration Basin Analysis and Economics Academic Pr?　Ian Lerche?　 AcademicPr?　IanLerche?　ジャンル別?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Business&Investing-Industries&Professions-General?　 Subjects-Business&Investing-Management&Leadership-Production&Operations?　Subjects-Engineering-Chemical-General?　Subjects-Engineering-Civil-Mining?　Subjects-Engineering-General?　Subjects-Engineering-Petroleum,Mining&Geological-Petroleum?　Subjects-Engineering-Petroleum,Mining&Geological-PetroleumGeology?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Environment-EnvironmentalScience　Subjects-Professional&Technical-Engineering-Chemical-General?　Subjects-Professional&Technical-Engineering-Civil-Mining?　 Subjects-Professional&Technical-Engineering-Petroleum,Mining&Geological-Petroleum?　 Subjects-Professional&Technical-Engineering-Petroleum,Mining&Geological-PetroleumGeology?　Subjects-Professional&Technical-Engineering-General　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　 Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience?　 Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Production&Operations?　Subjects-Science-Chemistry-ChemicalEngineering?　Subjects-Science-EarthSciences-EnvironmentalScience　Subjects-Science-EarthSciences-Geology-General?　Subjects-Science-General Socio-Economic Aspects of Natural Resource Management Conservation Foundation?　H. Jeffrey Leonard?　 ConservationFoundation?　H.JeffreyLeonard?　Substores-UnknownASINs-57?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Conservation-General?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Environmental Site Assessments and Their Impact on Property Value The Appraiser's Role Appraisal Inst?　Robert V. Colangelo?　Ronald D. Miller?　 AppraisalInst?　RobertV.Colangelo?　RonaldD.Miller?　Subjects-Business&Investing-Economics-NaturalResources　 Subjects-Business&Investing-Industries&Professions-RealEstate-General?　Subjects-Business&Investing-Industries&Professions-RealEstate-Sales?　Subjects-Nonfiction-UrbanPlanning&Development-EnvironmentalPlanning?　Subjects-Nonfiction-Economics-NaturalResources　 Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-RealEstate-General?　 Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-RealEstate-Sales?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　Subjects-Reference-General? Ecotourism and Sustainable Development Who Owns Paradise? Island Pr?　Martha Honey?　 IslandPr?　MarthaHoney?　Subjects-Business&Investing-Economics-Development&Growth?　Subjects-Business&Investing-Economics-SustainableDevelopment?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Business&Investing-General?　 Subjects-Business&Investing-Industries&Professions-Hospitality,Travel&Tourism?　Subjects-Business&Investing-Industries&Professions-General?　Subjects-Business&Investing-Industries&Professions-Service?　 Subjects-Business&Investing-Management&Leadership-Production&Operations?　Subjects-Nonfiction-Economics-Development&Growth?　Subjects-Nonfiction-Economics-SustainableDevelopment?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Outdoors&Nature-Conservation-General?　Subjects-Outdoors&Nature-Ecology-LivingontheLand?　Subjects-Outdoors&Nature-Travel-Ecotourism?　Subjects-Outdoors&Nature-Environment-Conservation?　 Subjects-Professional&Technical-Accounting&Finance-Economics-Development&Growth?　 Subjects-Professional&Technical-Accounting&Finance-Economics-SustainableDevelopment?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　 Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Production&Operations?　Subjects-Science-Nature&Ecology-Environment-Conservation?　Subjects-Science-Technology-RenewableEnergy?　Subjects-Travel-SpecialtyTravel-Ecotourism? Handbook for Implementing an ISO 14001 Environmental Management System A Practical Approach Shaw Environmental, Inc.?　John Kinsella?　Annette D. McCully?　 ShawEnvironmental,Inc.?　JohnKinsella?　AnnetteD.McCully?　Subjects-Business&Investing-Economics-NaturalResources　Subjects-Business&Investing-Management&Leadership-Management?　Subjects-Law-Environmental&NaturalResourcesLaw?　Subjects-Nonfiction-Economics-NaturalResources　Subjects-Nonfiction-Law-Environmental&NaturalResourcesLaw?　Subjects-Outdoors&Nature-Environment-Conservation?　 Subjects-Professional&Technical-Law-Environmental&NaturalResourcesLaw?　 Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources　 Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management?　Subjects-Science-Nature&Ecology-Environment-Conservation? Environmental Protection and Economic Development in India (Working Paper) Univ Texas at Austin Lyndon B?　Susan G. 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• 研究室週報 - Jobs' Commencement Speech

  https://w.atwiki.jp/fujirep/pages/33.html

  Thank you. I m honored to be with you today for your commencement from one of the finest universities in the world. Truth be told, I never graduated from college and this is the closest I ve ever gotten to a college graduation. Today I want to tell you three stories from my life. That s it. No big deal. Just three stories. The first story is about connecting the dots. I dropped out of Reed College after the first six months but then stayed around as a drop-in for another eighteen months or so before I really quit. So why did I drop out? It started before I was born. My biological mother was a young, unwed graduate student, and she decided to put me up for adoption. She felt very strongly that I should be adopted by college graduates, so everything was all set for me to be adopted at birth by a lawyer and his wife, except that when I popped out, they decided at the last minute that they really wanted a girl. So my parents, who were on a waiting list, got a call in the middle of the night asking, "We ve got an unexpected baby boy. Do you want him?" They said, "Of course." My biological mother found out later that my mother had never graduated from college and that my father had never graduated from high school. She refused to sign the final adoption papers. She only relented a few months later when my parents promised that I would go to college. This was the start in my life. And seventeen years later, I did go to college, but I naïvely chose a college that was almost as expensive as Stanford, and all of my working-class parents savings were being spent on my college tuition. After six months, I couldn t see the value in it. I had no idea what I wanted to do with my life, and no idea of how college was going to help me figure it out, and here I was, spending all the money my parents had saved their entire life. So I decided to drop out and trust that it would all work out OK. It was pretty scary at the time, but looking back, it was one of the best decisions I ever made. The minute I dropped out, I could stop taking the required classes that didn t interest me and begin dropping in on the ones that looked far more interesting. It wasn t all romantic. I didn t have a dorm room, so I slept on the floor in friends rooms. I returned Coke bottles for the five-cent deposits to buy food with, and I would walk the seven miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on. Let me give you one example. Reed College at that time offered perhaps the best calligraphy instruction in the country. Throughout the campus every poster, every label on every drawer was beautifully hand-calligraphed. Because I had dropped out and didn t have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and sans-serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can t capture, and I found it fascinating. None of this had even a hope of any practical application in my life. But ten years later when we were designing the first Macintosh computer, it all came back to me, and we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts, and since Windows just copied the Mac, it s likely that no personal computer would have them. If I had never dropped out, I would have never dropped in on that calligraphy class and personals computers might not have the wonderful typography that they do. Of course it was impossible to connect the dots looking forward when I was in college, but it was very, very clear looking backwards 10 years later. Again, you can t connect the dots looking forward. You can only connect them looking backwards, so you have to trust that the dots will somehow connect in your future. You have to trust in something--your gut, destiny, life, karma, whatever--because believing that the dots will connect down the road will give you the confidence to follow your heart, even when it leads you off the well-worn path, and that will make all the difference. My second story is about love and loss. I was lucky. I found what I loved to do early in life. Woz and I started Apple in my parents garage when I was twenty. We worked hard and in ten years, Apple had grown from just the two of us in a garage into a $2 billion company with over 4,000 employees. We d just released our finest creation, the Macintosh, a year earlier, and I d just turned thirty, and then I got fired. How can you get fired from a company you started? Well, as Apple grew, we hired someone who I thought was very talented to run the company with me, and for the first year or so, things went well. But then our visions of the future began to diverge, and eventually we had a falling out. When we did, our board of directors sided with him, and so at thirty, I was out, and very publicly out. What had been the focus of my entire adult life was gone, and it was devastating. I really didn t know what to do for a few months. I felt that I had let the previous generation of entrepreneurs down, that I had dropped the baton as it was being passed to me. I met with David Packard and Bob Noyce and tried to apologize for screwing up so badly. I was a very public failure and I even thought about running away from the Valley. But something slowly began to dawn on me. I still loved what I did. The turn of events at Apple had not changed that one bit. I d been rejected but I was still in love. And so I decided to start over. I didn t see it then, but it turned out that getting fired from Apple was the best thing that could have ever happened to me. The heaviness of being successful was replaced by the lightness of being a beginner again, less sure about everything. It freed me to enter one of the most creative periods in my life. During the next five years I started a company named NeXT, another company named Pixar and fell in love with an amazing woman who would become my wife. Pixar went on to create the world s first computer-animated feature film, "Toy Story," and is now the most successful animation studio in the world. In a remarkable turn of events, Apple bought NeXT and I returned to Apple and the technology we developed at NeXT is at the heart of Apple s current renaissance, and Lorene and I have a wonderful family together. I m pretty sure none of this would have happened if I hadn t been fired from Apple. It was awful-tasting medicine but I guess the patient needed it. Sometimes life s going to hit you in the head with a brick. Don t lose faith. I m convinced that the only thing that kept me going was that I loved what I did. You ve got to find what you love, and that is as true for work as it is for your lovers. Your work is going to fill a large part of your life, and the only way to be truly satisfied is to do what you believe is great work, and the only way to do great work is to love what you do. If you haven t found it yet, keep looking, and don t settle. As with all matters of the heart, you ll know when you find it, and like any great relationship it just gets better and better as the years roll on. So keep looking. Don t settle. My third story is about death. When I was 17 I read a quote that went something like "If you live each day as if it was your last, someday you ll most certainly be right." It made an impression on me, and since then, for the past 33 years, I have looked in the mirror every morning and asked myself, "If today were the last day of my life, would I want to do what I am about to do today?" And whenever the answer has been "no" for too many days in a row, I know I need to change something. Remembering that I ll be dead soon is the most important thing I ve ever encountered to help me make the big choices in life, because almost everything--all external expectations, all pride, all fear of embarrassment or failure--these things just fall away in the face of death, leaving only what is truly important. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. You are already naked. There is no reason not to follow your heart. About a year ago, I was diagnosed with cancer. I had a scan at 7 30 in the morning and it clearly showed a tumor on my pancreas. I didn t even know what a pancreas was. The doctors told me this was almost certainly a type of cancer that is incurable, and that I should expect to live no longer than three to six months. My doctor advised me to go home and get my affairs in order, which is doctors code for "prepare to die." It means to try and tell your kids everything you thought you d have the next ten years to tell them, in just a few months. It means to make sure that everything is buttoned up so that it will be as easy as possible for your family. It means to say your goodbyes. I lived with that diagnosis all day. Later that evening I had a biopsy where they stuck an endoscope down my throat, through my stomach into my intestines, put a needle into my pancreas and got a few cells from the tumor. I was sedated but my wife, who was there, told me that when they viewed the cells under a microscope, the doctor started crying, because it turned out to be a very rare form of pancreatic cancer that is curable with surgery. I had the surgery and, thankfully, I am fine now. This was the closest I ve been to facing death, and I hope it s the closest I get for a few more decades. Having lived through it, I can now say this to you with a bit more certainty than when death was a useful but purely intellectual concept. No one wants to die, even people who want to go to Heaven don t want to die to get there, and yet, death is the destination we all share. No one has ever escaped it. And that is as it should be, because death is very likely the single best invention of life. It s life s change agent; it clears out the old to make way for the new. right now, the new is you. But someday, not too long from now, you will gradually become the old and be cleared away. Sorry to be so dramatic, but it s quite true. Your time is limited, so don t waste it living someone else s life. Don t be trapped by dogma, which is living with the results of other people s thinking. Don t let the noise of others opinions drown out your own inner voice, heart and intuition. They somehow already know what you truly want to become. Everything else is secondary. When I was young, there was an amazing publication called The Whole Earth Catalogue, which was one of the bibles of my generation. It was created by a fellow named Stuart Brand not far from here in Menlo Park, and he brought it to life with his poetic touch. This was in the late Sixties, before personal computers and desktop publishing, so it was all made with typewriters, scissors, and Polaroid cameras. it was sort of like Google in paperback form thirty-five years before Google came along. I was idealistic, overflowing with neat tools and great notions. Stuart and his team put out several issues of the The Whole Earth Catalogue, and then when it had run its course, they put out a final issue. It was the mid-Seventies and I was your age. On the back cover of their final issue was a photograph of an early morning country road, the kind you might find yourself hitchhiking on if you were so adventurous. Beneath were the words, "Stay hungry, stay foolish." It was their farewell message as they signed off. "Stay hungry, stay foolish." And I have always wished that for myself, and now, as you graduate to begin anew, I wish that for you. Stay hungry, stay foolish. Thank you all, very much.

• オペラ対訳プロジェクト - Rossini,Gioachino/L'assedio di Corinto/I

  https://w.atwiki.jp/oper/pages/3181.html

  ATTO PRIMO Scena Prima (Vestibolo del Palazzo del Senato. Cleomene, Neocle, Jero, Adrasto e guerrieri greci) CORO (a Cleomene, il quale è tristo, e pensieroso) Signor, un sol tuo cenno Ne accoglie in queste mura, Per torre alla sciagura De padri nostri il suol. (fra sé) Ma!… che fia!… Non ci ode, e geme! Qual pensier lo affanna e preme? Qual mai duolo avvolge in cor? Ah! per noi non v è più scampo, Il destin ne opprime ancor! CLEOMENE Del vincitor superbo di Bisanzio Che tutta in ogni intorno Assedia la città, noi già sfidammo La feroce baldanza. Ciascun dì del tiranno L ira fa provocar; ma del futuro Io tremo!… Ohimè!… sul campo dell onore I più forti campioni, Miseri! han sepoltura. Cingon le nostre mura Ignei bronzi di guerra; E uniti all inumano Acciar del Musulmano Mieton… che orror!… il popolo e i soldati. Maometto udì che Grecia oppressa langue, Né vuol ristar quell empio cor dal sangue? Per torne all empio giogo, Oh ciel!… che far potremo? Anche pugnar… morire… O arrenderci dovremo? Che istante, oh Dio, crudel!… Liberi dite qual cura in voi più regge Il vostro sol pensier mi fia di legge. CORO In così reo periglio Giovar che può il coraggio? Come ad un rio servaggio Potremo, oh Dio! fuggir?… NEOCLE Guerrieri, a noi s affida La Grecia omai, che langue Versando il nostro sangue Per lei si dee perir. Di schiavitù l orrore Ridesti il vostro ardore. L ardire de tiranni Da tutti noi s inganni… Il dì della vendetta Pei nostri pur verrà. JERO Sì, combattete il Ciel ne reggerà. JERO, CLEOMENE La spada omicida Lo scudo è del forte; Se onore gli è guida, Se sfida la sorte, La vita sprezzando Va lieto a pugnar. E dove egli cada, Per sorte fatale, La fronda immortale Si seppe acquistar. NEOCLE, CLEOMENE, JERO, CORO Corriamo, amici, all armi Il barbaro a fugar. All armi!… Corinto Si vada a salvar. Sa un alma non vile La morte sprezzar. Il Cielo n è guida; Si vada a pugnar. CLEOMENE Il vostro ardor, prodi guerrieri, è guida Alla vittoria, e par che a noi sorrida. Voi consultar io volli, Non il vostro coraggio Di che mai temer seppi. Tutti sul patrio altare, Tutti giuriam di vincere o morire. Chi mai potria soffrire L infamia e la vergogna? L onor più che la vita il forte agogna. TUTTI Su quest armi, delizia del forte, Noi di vincer giuriamo o perir; E sfidiamo i perigli e la morte, Affrontar de nemici l ardir. Ma se fia che ogni Greco soccomba Del destino all avverso tenor, Che Corinto gli serva di tomba, Monumento di gloria ed onor. (Adrasto ed i guerrieri partono). Scena Seconda (Cleomene, Jero e Neocle) CLEOMENE È salva ancor la patria Struggeremo i nemici. L ebbrezza mia guerriera Infiammerà ogni cor. Jero, partite. JERO Sì in questo dì di pianto Preghiamo il Ciel, che ne protegga intanto. (Parte) NEOCLE (a Cleomene) Tua figlia m è promessa; E d un imen di pace In Corinto dovrà splender la face. La tua fé manterrai? CLEOMENE Sì… vien Pamira. Scena Terza (Pamira e detti) CLEOMENE T appressa, o figlia. Questo giorno infausto Forse a noi sorgerà… Ei dee fissar tua sorte… Forse pugnando io sarò tratto a morte. E questa io preferisco Al destin d esser vile. A tuo sostegno io scelsi Tra i guerrieri il più forte. Eccol, Neocle. PAMIRA (fra sé) Che mai sento! NEOCLE Appaga L ardor di che m avvampo, E dall ara di nozze io volo al campo. PAMIRA (fra sé) Oh dolor! CLEOMENE Vien, mi segui!… La pompa è di già presta. PAMIRA Ma in un giorno di duol!… NEOCLE Ciel!… CLEOMENE Che t arresta? PAMIRA I miei giorni, se il vuoi, O padre, saran tuoi … ma questo imene… CLEOMENE Gran Dio!… NEOCLE Gran Dio! PAMIRA Me vedi a tuoi piè NEOCLE Che sarà? CLEOMENE Fatal mistero! Ed ha forse il tuo cor Ad altri fé giurata? PAMIRA Almanzor in Atene La mia fé ricevette. CLEOMENE Chi fia quest Almanzor? Chi fia, parla, l audace? PAMIRA Nol tradirà Pamira. CLEOMENE Ah! Sgombra dall alma un tanto affetto Ché se tu non rinunzi A questo insano amore, L ira su te cadrà del genitore. PAMIRA, NEOCLE, CLEOMENE Destin terribile! Oh rio dolor!… Qual colpo orribile M agghiaccia il cor! O Ciel! propizio Mie preci intendi La pace all anima A me tu rendi. Del cielo irato Cessi lo sdegno, D avverso fato Cangi il rigor. Scena Quarta (Gli anzidetti. Guerrieri greci e diverse donne greche entrano in disordine) CORO Di morte il suon - Mandò l ostil masnada Per noi non han - Quegl empi cor pietà. Se incerta ancor - si sta la greca spada, Il Musulman - Corinto struggerà. PAMIRA Qual mai dolor! - Già vien l ostil masnada! Oh Ciel, in te, - Nel tuo favor fidiam! CLEOMENE Figli d eroi - Su, riprendiam la spada. NEOCLE, CLEOMENE, CORO Corriam le mura difendiam. CLEOMENE Andiam, guerrieri, andiam! PAMIRA Oh padre!… Oh duolo! CLEOMENE Se il mio valore illudesse il destino, Se noi spenti cadiamo Sul campo dello scempio, Schiava Pamira esser dovria d un empio! PAMIRA Oh padre!… CLEOMENE (le dà un pugnale) Questo ferro mi risponda di te. PAMIRA Tutto comprende La tua Pamira, o padre. CLEOMENE Sia dei vili ogni speme illusa appieno. Pensa che vita a Grecia avesti in seno. PAMIRA La data fe rammento, E in quel fatal momento la figlia tua sarò. A prevenir l oltraggio dell inimiche squadre L esempio di mio padre infiammerà il mio cor. PAMIRA, CORO DI DONNE Oh Ciel! del tuo favore Tutto il bisogno io sento. Proteggi la mia patria In sì crudel cimento, Seconda il lor valor. CLEOMENE, NEOCLE Qual sorte mai funesta! L acciar che sol mi resta Punisca il lor furor. Un voto insuperabile Infiammi il nostro cor. CLEOMENE, NEOCLE, CORO La gloria della patria Infiammi il nostro/vostro cor. PAMIRA Destino inesorabile, Da fine al tuo rigor. CLEOMENE Mia figlia! Ti rammenta… PAMIRA Il ferro… CLEOMENE Sii degna di me. (Partono). Scena Quinta (Piazza di Corinto. I soldati musulmani traversano la scena inseguendo de soldati greci; altri soldati turchi arrivano) CORO Dal ferro del forte Germoglia la morte, La strage e l orror. Qual forza non cede Al nostro valor? Nessuno pel vinto S accolga dolor; Esecri Corinto Il proprio furor. Scena Sesta (Maometto con seguito e detti) MAOMETTO Cessi vittoria di mia voce al suono. Guerrier, sorgete. In sen di queste mura Sien da voi rispettati Que prodigi dell arte. Io vo scolpirvi La mia conquista, e ne futuri giorni Di mie gesta serbar fama; son l’arti, O figli della gloria, Che immortal degli eroi fan la memoria. CORO Omaggio, gloria e onor Al nostro conduttor! MAOMETTO Duce di tanti eroi, Crollar farò gl imperi, E volerò con voi Del mondo a trionfar. CORO Omaggio, gloria e onor Al nostro conduttor! MAOMETTO A Maometto intorno Venite ad esultar. Scena Settima (Omar e detti) OMAR Trionfammo, signor; ma i Greci ancora Difendono il sentier della fortezza. Un de lor capi in nostre man venìa. Vuoi che s uccida?… MAOMETTO (alle guardie) A me condotto ei sia. Vaghezza di parlargli anzi mi prende. (Omar fa cenno ad alcuni soldati, che partono). OMAR Vinse Maometto, e vendicarsi or teme? MAOMETTO Amico! a me… deh! tu perdona. Innanzi Ch io v apparissi vincitor, la Grecia D Almanzor sotto il nome, io tutta scorsi… OMAR E d Almanzor col nome?… MAOMETTO Ed in Atene… oh Dio!… Qual si offriva donzella al guardo mio! Io movo verso Atene, e già comincia La mia ventura. Amico, I suoi vezzi rammento, e al suo pensiero Ardir più in me non sento. Ma il prigionier ver noi volge le piante. Scena Ottava (Gli anzidetti, Cleomene fra le guardie) MAOMETTO Capo all oste ribelle, Ordina a tuoi soldati Di deporre la spada. CLEOMENE Non m udrebber giammai. La Grecia è fida alla sua gloria. MAOMETTO Verso la fortezza A riunirsi li spinge un folle ardore. Difendersi s’apran? CLEOMENE Sapran morire. MAOMETTO Reprimi que trasporti D inutile valore. Vuoi che porti là dentro il mio furore? CLEOMENE D uopo di ciò non hai Prevenirti col lor ferro vedrai. MAOMETTO Quale audacia! CLEOMENE Disfidan l odio tuo Essi, che morir sanno; Né fremerai tu invano, empio tiranno Paventa! MAOMETTO Guardie! a me costui sia tolto. Quanto io vi tema udrai fra breve, o stolto. I ferri omai precipitin sugl empi. Scena Nona (Pamira, i precedenti, Ismene e donne) PAMIRA Oh Ciel! Fermate… MAOMETTO Andate; m ubbidite. PAMIRA Oh padre!… Ingrata sorte! Il mio dolore Mitigar possa almen il vincitore. (A Maometto) Signor… io cado a piedi tuoi… MAOMETTO (fra sé) Qual voce!… PAMIRA (riconoscendo Maometto) Ciel!… che vedo!… Almanzor… MAOMETTO (fra sé) Pamira!… oh Dio! (fra sé) È lei. Quel ciglio ha spento il foco mio. PAMIRA Ritrovo l amante Nel crudo nemico Che barbaro istante! Che penso?… Che dico? La morte che imploro Deh! porga ristoro A tanto dolor! MAOMETTO (fra sé) Quel nobile aspetto, Quel ciglio d amore Riaccendon l affetto Che accolse il mio core. Distrugger può solo Quel volto, quel duolo Dell alma il furor. CLEOMENE (fra sé) Amante la figlia Dell empio tiranno! Chi, oh Ciel, mi consiglia? Qual barbaro affanno. La morte che imploro Mi porga ristoro A tanto dolor. ISMENE (fra sé) Cleomene fra l ira Ondeggia e l affanno E geme Pamira Pel barbaro inganno… Quel Cielo che imploro Deh! porga ristoro A tanto dolor! CORO Il tenero aspetto D inerme beltà Ridesta in Maometto La spenta pietà. Qual magico incanto Quel ciglio, quel pianto Han mai su quel cor! MAOMETTO Pamira, mi sei resa… PAMIRA Nel giorno del terror. MAOMETTO Giorno sarà di pace se tu mi segui all ara Per te la Grecia, o cara fia tolta al suo dolor. PAMIRA Oh padre!… CLEOMENE Oh mio furor! Ah fuggi un tristo imene!… MAOMETTO Mi segui, o mio tesor. CLEOMENE Figlia, quel dubbio eccede Neocle avea tua fede. MAOMETTO Neocle?… Oh Ciel! CLEOMENE Lui solo disponga del tuo cor. PAMIRA Giammai!… CLEOMENE Spietata figlia!… L ardor che ti consiglia Accende in me lo sdegno, Mi rende un padre indegno Ti maledico. TUTTI meno CLEOMENE Oh!… quale orror! PAMIRA L alma che geme Non ha più speme, Più non resiste Al suo dolor. CLEOMENE Quel core ingrato D un padre irato Tema lo sdegno Vendicator. MAOMETTO (a Pamira) Vien, mi segui l amore, il potere Puniran di quell alma l orgoglio! Un rifiuto soffrire non soglio, E vendetta tremenda farò. CLEOMENE Fra i rimorsi, fra il duol e l affanno Sempre viva l indegna nel pianto; Tolga morte rossore cotanto Ad un padre che tutto perdé! PAMIRA, ISMENE, DONNE Dai rimorsi, dal duol, dall affanno Lacerata non regge quest alma; Dio possente! mi/le rendi la calma, Che il mio/suo core innocente perdé. OMAR, CORO DI TURCHI Non piegar di Maometto lo sdegno Vanterebbe il potere d un Dio; Di vendetta lo strugge il desìo; Fatal giorno pei Greci quest è. ATTO PRIMO Scena Prima (Vestibolo del Palazzo del Senato. Cleomene, Neocle, Jero, Adrasto e guerrieri greci) CORO (a Cleomene, il quale è tristo, e pensieroso) Signor, un sol tuo cenno Ne accoglie in queste mura, Per torre alla sciagura De padri nostri il suol. (fra sé) Ma!… che fia!… Non ci ode, e geme! Qual pensier lo affanna e preme? Qual mai duolo avvolge in cor? Ah! per noi non v è più scampo, Il destin ne opprime ancor! CLEOMENE Del vincitor superbo di Bisanzio Che tutta in ogni intorno Assedia la città, noi già sfidammo La feroce baldanza. Ciascun dì del tiranno L ira fa provocar; ma del futuro Io tremo!… Ohimè!… sul campo dell onore I più forti campioni, Miseri! han sepoltura. Cingon le nostre mura Ignei bronzi di guerra; E uniti all inumano Acciar del Musulmano Mieton… che orror!… il popolo e i soldati. Maometto udì che Grecia oppressa langue, Né vuol ristar quell empio cor dal sangue? Per torne all empio giogo, Oh ciel!… che far potremo? Anche pugnar… morire… O arrenderci dovremo? Che istante, oh Dio, crudel!… Liberi dite qual cura in voi più regge Il vostro sol pensier mi fia di legge. CORO In così reo periglio Giovar che può il coraggio? Come ad un rio servaggio Potremo, oh Dio! fuggir?… NEOCLE Guerrieri, a noi s affida La Grecia omai, che langue Versando il nostro sangue Per lei si dee perir. Di schiavitù l orrore Ridesti il vostro ardore. L ardire de tiranni Da tutti noi s inganni… Il dì della vendetta Pei nostri pur verrà. JERO Sì, combattete il Ciel ne reggerà. JERO, CLEOMENE La spada omicida Lo scudo è del forte; Se onore gli è guida, Se sfida la sorte, La vita sprezzando Va lieto a pugnar. E dove egli cada, Per sorte fatale, La fronda immortale Si seppe acquistar. NEOCLE, CLEOMENE, JERO, CORO Corriamo, amici, all armi Il barbaro a fugar. All armi!… Corinto Si vada a salvar. Sa un alma non vile La morte sprezzar. Il Cielo n è guida; Si vada a pugnar. CLEOMENE Il vostro ardor, prodi guerrieri, è guida Alla vittoria, e par che a noi sorrida. Voi consultar io volli, Non il vostro coraggio Di che mai temer seppi. Tutti sul patrio altare, Tutti giuriam di vincere o morire. Chi mai potria soffrire L infamia e la vergogna? L onor più che la vita il forte agogna. TUTTI Su quest armi, delizia del forte, Noi di vincer giuriamo o perir; E sfidiamo i perigli e la morte, Affrontar de nemici l ardir. Ma se fia che ogni Greco soccomba Del destino all avverso tenor, Che Corinto gli serva di tomba, Monumento di gloria ed onor. (Adrasto ed i guerrieri partono). Scena Seconda (Cleomene, Jero e Neocle) CLEOMENE È salva ancor la patria Struggeremo i nemici. L ebbrezza mia guerriera Infiammerà ogni cor. Jero, partite. JERO Sì in questo dì di pianto Preghiamo il Ciel, che ne protegga intanto. (Parte) NEOCLE (a Cleomene) Tua figlia m è promessa; E d un imen di pace In Corinto dovrà splender la face. La tua fé manterrai? CLEOMENE Sì… vien Pamira. Scena Terza (Pamira e detti) CLEOMENE T appressa, o figlia. Questo giorno infausto Forse a noi sorgerà… Ei dee fissar tua sorte… Forse pugnando io sarò tratto a morte. E questa io preferisco Al destin d esser vile. A tuo sostegno io scelsi Tra i guerrieri il più forte. Eccol, Neocle. PAMIRA (fra sé) Che mai sento! NEOCLE Appaga L ardor di che m avvampo, E dall ara di nozze io volo al campo. PAMIRA (fra sé) Oh dolor! CLEOMENE Vien, mi segui!… La pompa è di già presta. PAMIRA Ma in un giorno di duol!… NEOCLE Ciel!… CLEOMENE Che t arresta? PAMIRA I miei giorni, se il vuoi, O padre, saran tuoi … ma questo imene… CLEOMENE Gran Dio!… NEOCLE Gran Dio! PAMIRA Me vedi a tuoi piè NEOCLE Che sarà? CLEOMENE Fatal mistero! Ed ha forse il tuo cor Ad altri fé giurata? PAMIRA Almanzor in Atene La mia fé ricevette. CLEOMENE Chi fia quest Almanzor? Chi fia, parla, l audace? PAMIRA Nol tradirà Pamira. CLEOMENE Ah! Sgombra dall alma un tanto affetto Ché se tu non rinunzi A questo insano amore, L ira su te cadrà del genitore. PAMIRA, NEOCLE, CLEOMENE Destin terribile! Oh rio dolor!… Qual colpo orribile M agghiaccia il cor! O Ciel! propizio Mie preci intendi La pace all anima A me tu rendi. Del cielo irato Cessi lo sdegno, D avverso fato Cangi il rigor. Scena Quarta (Gli anzidetti. Guerrieri greci e diverse donne greche entrano in disordine) CORO Di morte il suon - Mandò l ostil masnada Per noi non han - Quegl empi cor pietà. Se incerta ancor - si sta la greca spada, Il Musulman - Corinto struggerà. PAMIRA Qual mai dolor! - Già vien l ostil masnada! Oh Ciel, in te, - Nel tuo favor fidiam! CLEOMENE Figli d eroi - Su, riprendiam la spada. NEOCLE, CLEOMENE, CORO Corriam le mura difendiam. CLEOMENE Andiam, guerrieri, andiam! PAMIRA Oh padre!… Oh duolo! CLEOMENE Se il mio valore illudesse il destino, Se noi spenti cadiamo Sul campo dello scempio, Schiava Pamira esser dovria d un empio! PAMIRA Oh padre!… CLEOMENE (le dà un pugnale) Questo ferro mi risponda di te. PAMIRA Tutto comprende La tua Pamira, o padre. CLEOMENE Sia dei vili ogni speme illusa appieno. Pensa che vita a Grecia avesti in seno. PAMIRA La data fe rammento, E in quel fatal momento la figlia tua sarò. A prevenir l oltraggio dell inimiche squadre L esempio di mio padre infiammerà il mio cor. PAMIRA, CORO DI DONNE Oh Ciel! del tuo favore Tutto il bisogno io sento. Proteggi la mia patria In sì crudel cimento, Seconda il lor valor. CLEOMENE, NEOCLE Qual sorte mai funesta! L acciar che sol mi resta Punisca il lor furor. Un voto insuperabile Infiammi il nostro cor. CLEOMENE, NEOCLE, CORO La gloria della patria Infiammi il nostro/vostro cor. PAMIRA Destino inesorabile, Da fine al tuo rigor. CLEOMENE Mia figlia! Ti rammenta… PAMIRA Il ferro… CLEOMENE Sii degna di me. (Partono). Scena Quinta (Piazza di Corinto. I soldati musulmani traversano la scena inseguendo de soldati greci; altri soldati turchi arrivano) CORO Dal ferro del forte Germoglia la morte, La strage e l orror. Qual forza non cede Al nostro valor? Nessuno pel vinto S accolga dolor; Esecri Corinto Il proprio furor. Scena Sesta (Maometto con seguito e detti) MAOMETTO Cessi vittoria di mia voce al suono. Guerrier, sorgete. In sen di queste mura Sien da voi rispettati Que prodigi dell arte. Io vo scolpirvi La mia conquista, e ne futuri giorni Di mie gesta serbar fama; son l’arti, O figli della gloria, Che immortal degli eroi fan la memoria. CORO Omaggio, gloria e onor Al nostro conduttor! MAOMETTO Duce di tanti eroi, Crollar farò gl imperi, E volerò con voi Del mondo a trionfar. CORO Omaggio, gloria e onor Al nostro conduttor! MAOMETTO A Maometto intorno Venite ad esultar. Scena Settima (Omar e detti) OMAR Trionfammo, signor; ma i Greci ancora Difendono il sentier della fortezza. Un de lor capi in nostre man venìa. Vuoi che s uccida?… MAOMETTO (alle guardie) A me condotto ei sia. Vaghezza di parlargli anzi mi prende. (Omar fa cenno ad alcuni soldati, che partono). OMAR Vinse Maometto, e vendicarsi or teme? MAOMETTO Amico! a me… deh! tu perdona. Innanzi Ch io v apparissi vincitor, la Grecia D Almanzor sotto il nome, io tutta scorsi… OMAR E d Almanzor col nome?… MAOMETTO Ed in Atene… oh Dio!… Qual si offriva donzella al guardo mio! Io movo verso Atene, e già comincia La mia ventura. Amico, I suoi vezzi rammento, e al suo pensiero Ardir più in me non sento. Ma il prigionier ver noi volge le piante. Scena Ottava (Gli anzidetti, Cleomene fra le guardie) MAOMETTO Capo all oste ribelle, Ordina a tuoi soldati Di deporre la spada. CLEOMENE Non m udrebber giammai. La Grecia è fida alla sua gloria. MAOMETTO Verso la fortezza A riunirsi li spinge un folle ardore. Difendersi s’apran? CLEOMENE Sapran morire. MAOMETTO Reprimi que trasporti D inutile valore. Vuoi che porti là dentro il mio furore? CLEOMENE D uopo di ciò non hai Prevenirti col lor ferro vedrai. MAOMETTO Quale audacia! CLEOMENE Disfidan l odio tuo Essi, che morir sanno; Né fremerai tu invano, empio tiranno Paventa! MAOMETTO Guardie! a me costui sia tolto. Quanto io vi tema udrai fra breve, o stolto. I ferri omai precipitin sugl empi. Scena Nona (Pamira, i precedenti, Ismene e donne) PAMIRA Oh Ciel! Fermate… MAOMETTO Andate; m ubbidite. PAMIRA Oh padre!… Ingrata sorte! Il mio dolore Mitigar possa almen il vincitore. (A Maometto) Signor… io cado a piedi tuoi… MAOMETTO (fra sé) Qual voce!… PAMIRA (riconoscendo Maometto) Ciel!… che vedo!… Almanzor… MAOMETTO (fra sé) Pamira!… oh Dio! (fra sé) È lei. Quel ciglio ha spento il foco mio. PAMIRA Ritrovo l amante Nel crudo nemico Che barbaro istante! Che penso?… Che dico? La morte che imploro Deh! porga ristoro A tanto dolor! MAOMETTO (fra sé) Quel nobile aspetto, Quel ciglio d amore Riaccendon l affetto Che accolse il mio core. Distrugger può solo Quel volto, quel duolo Dell alma il furor. CLEOMENE (fra sé) Amante la figlia Dell empio tiranno! Chi, oh Ciel, mi consiglia? Qual barbaro affanno. La morte che imploro Mi porga ristoro A tanto dolor. ISMENE (fra sé) Cleomene fra l ira Ondeggia e l affanno E geme Pamira Pel barbaro inganno… Quel Cielo che imploro Deh! porga ristoro A tanto dolor! CORO Il tenero aspetto D inerme beltà Ridesta in Maometto La spenta pietà. Qual magico incanto Quel ciglio, quel pianto Han mai su quel cor! MAOMETTO Pamira, mi sei resa… PAMIRA Nel giorno del terror. MAOMETTO Giorno sarà di pace se tu mi segui all ara Per te la Grecia, o cara fia tolta al suo dolor. PAMIRA Oh padre!… CLEOMENE Oh mio furor! Ah fuggi un tristo imene!… MAOMETTO Mi segui, o mio tesor. CLEOMENE Figlia, quel dubbio eccede Neocle avea tua fede. MAOMETTO Neocle?… Oh Ciel! CLEOMENE Lui solo disponga del tuo cor. PAMIRA Giammai!… CLEOMENE Spietata figlia!… L ardor che ti consiglia Accende in me lo sdegno, Mi rende un padre indegno Ti maledico. TUTTI meno CLEOMENE Oh!… quale orror! PAMIRA L alma che geme Non ha più speme, Più non resiste Al suo dolor. CLEOMENE Quel core ingrato D un padre irato Tema lo sdegno Vendicator. MAOMETTO (a Pamira) Vien, mi segui l amore, il potere Puniran di quell alma l orgoglio! Un rifiuto soffrire non soglio, E vendetta tremenda farò. CLEOMENE Fra i rimorsi, fra il duol e l affanno Sempre viva l indegna nel pianto; Tolga morte rossore cotanto Ad un padre che tutto perdé! PAMIRA, ISMENE, DONNE Dai rimorsi, dal duol, dall affanno Lacerata non regge quest alma; Dio possente! mi/le rendi la calma, Che il mio/suo core innocente perdé. OMAR, CORO DI TURCHI Non piegar di Maometto lo sdegno Vanterebbe il potere d un Dio; Di vendetta lo strugge il desìo; Fatal giorno pei Greci quest è. Rossini,Gioachino/L assedio di Corinto/II

• マッチムーブ@ wiki - Object Tracking

  https://w.atwiki.jp/matchmove/pages/79.html

  Object Tracking 訳者注）　本文のチュートリアルよりも動画のWEBチュートリアルの方がわかりやすいです。 WEBチュートリアルwww.ssontech.com/content/fridge.htmの解説は手動トラッキングを用いているが オートマチックトラッキングの結果（カメラトラッキング）からオブジェクトトラッキングにチェンジする方法がある。 こちらですwww.ssontech.com/content/chgtoobj.htm カメラモードでトラッキング解析済みデータ（カメラトラッキング）から  　shot→AddMovingObject 　shot→camera01 　Edit→SelectAll 　CoordinateSystemPanelでcamera01→objectに変更 　SolvePanelでRefine→Automaticにしてから×（cameraパス消える） （カメラパスを削除する時、オートマチックを選んで×しないと 元のカメラトラッキングデータが残ってしまう。 ）で、Disabledに変更してからGO を押下 オブジェクトトラッキング状態でも座標位置は設定可能なので 最初のフレームで3次元座標を設定しておく。 （以下は3ｄｓMAXの場合の手順） この座標位置はエクスポートしたMAXへ引き継がれる。 ただしオブジェクトを置く時はworldじゃなくobject表示で設置すること。 MAX側へ取り込むと今度はカメラが固定でオブジェクトが動いている状態なので 新たに作った自分のCGへ基点（object1）のアニメーションデータをコピーしてやる。 FILE→アニメーションの合成→ソースオブジェクト選択（コピー元）→右へドラッグして作成したポリゴンへ挿入→アニメーションの合成  ただし、MAX上でのモデリングや位置調整はカメラトラッキング状態の方が圧倒的に楽です。 なにしろ座標変わりませんから。 カメラトラッキング版で形状等を調整したモデリングを作成しておいて MAXからエクスポートしたオブジェクトをSynthEyes側へインポートして位置合わせして 再度オブジェクトトラッキングでMAX側へエクスポートするワークフローが賢いかもしれないですね。。。  ちなみに下記ではBOXオブジェクトを用いてマッチさせる方法を示しています。 www.ssontech.com/content/boxmatch.htm こんな感じのことができます。 http //www.youtube.com/watch?v=QzruWH2nsNA feature=channel_page http //www.youtube.com/watch?v=liQXhexIYRk feature=channel_page     Here s how to do an object-tracking shot, using the example shotlazysue.avi, which shows a revolving kitchen storage tray spinning (called a Lazy Susan in the U.S. for some reason). This shot provides a number of educational opportunities. It can be tracked either automatically or under manual supervision, so both will be described. The basic point of object tracking is that the shot contains an object whose motion is to be determined so that effects can be added. The camera might also be moving; that motion might also be determined if possible, or the object s motion can be determined with respect to the moving camera, without concern for the camera s actual motion. The object being tracked must exhibit perspective effects during the shot. If the object occupies only a small portion of the image, this will be unlikely. A film or HD source will help provide enough accuracy for perspective shifts to be detected. For object-tracking, all the features being tracked must remain rigidly positioned with respect to one another. For example, if a head is to be tracked, feature points must be selected that are away from the mouth or eyes, which move with respect to one another. If the expression of a face is to be tracked for character animation, see the section onMotion Capture. Moving-object tracking is substantially simpler than motion capture, and requires only a single shot and no special on-set preparation during shooting. Automatic Tracking ·        Open the lazysue.avi shot, using the default settings. ·        On the Solver panel, set the camera s solving mode toDisabled. ·        On the Shot menu, selectAdd Moving Object. You will see the object at the origin as a diamond-shaped null object. ·        Switch to the Roto panel, with the camera viewport selected. ·        Scrub through the shot to familiarize yourself with it, then rewind back to the beginning. ·        Click the create-spline (magic wand) button on the Roto panel. ·        Click roughly in the center of the image to establish the center point. ·        Click counterclockwise about the moving region of the shot, inset somewhat from the stationary portion of the cabinetry and inset from the bottom edge of the tray. Right-click after the last point. [The shape is shown below.] ·        Click the create-spline (magic wand) button again to turn it off. ·        Double-click the vertices as necessary to change them to corners. ·        In the spline list on the Roto panel, select Spline1 and hit the delete key. ·        On the object setting underneath the spline list, change the object setting from Garbage to Object01. Your screen should look something like this ·        Go to the Feature Panel. ·        Change the Motion Profile toGentle Motion. ·        HitBlips all frames. ·        HitPeel All. ·        Go to the end of the shot. ·        Verify that the five dots on the flat floor of the lazy susan have associated trackers a green diamond on them. ·        If you need to add a tracker to a tracking mark, turn on the Peel button on the Feature panel. Scrub around to locate a long track on each untracked spot, then click on the small blip to convert it to a tracker. Turn off Peel mode when you are done. ·        Switch to the Coordinate System Panel. ·        Go to frame 65. ·        Change the tracker on the “floor” that is closest to the central axis to be the origin. ·        Set the front center floor tracker to be a Lock Point, locked to 10,0,0. ·        Set the front right tracker toXY Plane(or XZ plane for a Y-Up axis mode). ·        Switch to the Solver Panel. ·        Make sure the Constrain checkbox is off. ·        Hit Go!. ·        Go to theAfter Trackingsection, below. Supervised Tracking The shot is best tracked backwards the trackers can start from the easiest spots, and get tracked as long as possible into the more difficult portion at the beginning of the shot. Tracking backwards is suggested for features that are coming towards the camera, for example, shots from a vehicle. ·        Open the lazysue.avi shot, using the default settings. ·        On the Solver panel, set the camera s solving mode toDisabled. ·        On the shots menu, selectAdd Moving Object. You will see the object at the origin as a diamond-shaped null object. ·        On the Tracker panel, turn onCreate. The trackers will be associated with the moving object, not the camera. ·        Switch to the Camera viewport, to bring the image full frame. ·        Click theTo End button on the play bar. ·        Click the Playback direction button from to (backwards). ·        Create a tracker on one of the dots on the shelf. Decrease the tracker size to approximately 0.015, and increase the horizontal search size to 0.03. ·        Create a tracker on each spot on the shelf. Track each as far as possible back to the beginning of the shot. Use the tracker interior view to scroll through the frames and reposition as needed. As the spots go into the shadow, you can continue to track them, using the tracker gain spinner. When a tracker becomes untrackable, turn off Enable, and Lock the tracker. Right-click the spinner to reset it for the next tracker. ·        Continue adding trackers from the end of the shot roughly as follows ·        Begin tracking from the beginning, by rewinding, changing the playback direction to forward, then adding additional trackers. You will need to add these additional trackers to achieve coverage early in the shot, when the primary region of interest is still blocked by the large storage container. ·        Switch to the graph editor in graph mode, sort by error mode. Use the mouse to sweep through and select the different trackers. Or, select Sort by error on the main View menu, and use the up and down arrows on the keyboard to sequence through the trackers. Look for spikes in the tracker velocity curves (solid red and green). Switch back to the camera view as needed for remedial work. ·        Switch to the Coordinate System control panel and camera viewport, at the end of the shot. ·        Select the tracker at center back on the surface of the shelf; change it to anOriginlock. ·        Select the tracker a bottom left on the shelf, change it toLock Pointwith coordinate X=10. ·        Select the tracker at front right; change it to anOn XY Planelock (or On XZ if you use Y-axis up for Maya or Lightwave). ·        Switch to the Solver control Panel. ·        Switch to the Quad view; zoom back out on the Camera viewport. ·        Hit Go! After solving completes in a few seconds, hit OK. ·        Continue to theAfter Trackingsection, below. After Tracking ·        Switch to the 3-D Objects panel, with the Quad viewport layout selected. ·        Click theWorldbutton, changing it toObject. ·        Turn on the Magic Wand tool and select the Cone object. ·        In the top view, draw a cone in the top-right quadrant, just above and right of the diamond-shaped object marker. ·        Hint it can be easier to adjust the cone s position in the Perspective view, locked to the camera, withView/Local coordinate handlesturned on. ·        Scrub the timeline to see the inserted cone. In your animation package, a small amount of camera-mapped stand-in geometry would be used to make the large container occlude the inserted cone and reveal correctly as the shelf spins. ·        Advanced techniques useCoalesce TrackersandClean Up Trackers. Difficult Situations When an object occupies only a relatively small portion of the frame, there are few trackers, and/or the object is moving so that trackers get out of view often, object tracking can be difficult. You may wind up creating a situation where the mathematically best solution does not correspond to reality, but to some impossible tracker or camera configuration. It is an example of the old adage,“Garbage In, Garbage Out”(please don’t be offended, gentle reader). Goosing the Solver Small changes in the initial configuration may allow the solver to, essentially randomly, pick a more favorable solution. Be sure to use theSlow but surecheckbox and all the different possibilities of the Rough camera motion selection, both on the solver panel. Trying a variety of manually-selected seed frames is also suggested. Small changes in trackers, or adding additional trackers, especially those at different depths, may also be helpful in obtaining the desired solution. Inverting Perspective Sometimes, in a low-perspective object track, you may see a situation where the object model and motion seem almost correct, except that some things that are too far away are too close, and the object rotates the wrong way. This is a result of low/no/conflicting perspective information. If you cannot improve the trackers or convince the solver to arbitrarily pick a different solution, read on. TheInvert Perspectivescript on the Script menu will invert the object and hopefully allow you to recover from this situation quickly. It flips the solved trackers about their center of gravity, on the current frame, changes them to seed trackers (this will mess up any coordinate system), and changes the solving mode toFrom Seed Points. You can then re-solve the scene with this solution, and hopefully get an updated, and better, path and object points. You should then switch back to Refine mode for further tracking work! Using a 3-D Model You might also encounter situations where you have a 3-D model of the object to be tracked. If SynthEyes knows the 3-D coordinates of each tracker, or at least 6-10 of them, it will be much easier to get a successful 3-D track. You can import the 3-D model into SynthEyes, then use the Perspective window s Place mode to locate the seed point of each tracker on the mesh at the correct location. Turn on the Seed checkbox on for each, and switch to the From Seed Points solving mode on. If you have determined the 3-D coordinates of your tracker externally (such as from a survey or animation package), construct asmall text filecontaining the x, y, and z coordinates, followed by the tracker name. Use File/Import/Tracker Locations to set these coordinates as the seed locations, then use the From Seed Points solver option. If the tracker named doesn’t exist, it will be created (using the defaults from the Tracker Panel, if open), so you can import your particular points first, and track them second, if desired, though tracking first is usually easier. The seed points will help SynthEyes select the desired (though suboptimal) starting configuration. In extreme situations, you may want to lock the trackers to these coordinates, which can be achieved easily by setting all the imported trackers to Lock Points on the Coordinate System panel. To make this easy, all the affected trackers are selected after an Import/Tracker Locations operation.

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• RAGTIMEMA @ WIKI - LIVEDOOR マイ　アルバム

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• UziHome@Wiki - BBS-Uzi/Bord/61

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  Presented in the eleven pages that follow are four ready-to-play Characters to play with the Head Case story. Each of them includes a brief introduction to who they are, what kind of Tager they are and what abilities those manifestations have, and a two-page Character Sheet with all their relevant game data.[ Here is a quick explanation of the particulars that pertain to these four Characters. Skills General Skills • Arcanotech Engineering – You understand the fundamental melding of arcane sorcery and technical design. • Athletics – Your increased physical prowess is the result of athletic training. 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You seek the hidden secrets of mysticism, curses, hauntings, ancient rituals, eldritch sorcery, and dark gods. • Performance – You possess a musical, theatrical, oratory, dance, or other form of artistic performance talent that you can exhibit before an audience, typically for their entertainment. • Regional Knowledge – You are acquainted with the characteristics of a certain regional area. • Science Physical – You understand the science of matter, energy, and their interactions. • Stealth – You possess the ability to hide, move silently, or otherwise avoid detection. • Streetwise – You understand how to operate and survive within the seedier side of civilization. • Survival – You possess the necessary skill to live off the land. Combat Skills • Armed Fighting – You can fight effectively with any bashing, slashing, or stabbing weapon that you can hold in your hand. • Dodge – Your body has been trained through extensive drill to respond to emergency situations. • Fighting – You can fight effectively unarmed using your body as its own weapon. • Marksman – You can effectively handle any firearm, energy weapon, or archaic projectile weapon in combat. Qualities Assets • Acute Sight – Your Character has incredibly sharp vision and receives a +2 Test Bonus to all sight-based Observation Tests. • Alluring (2) – Your Character has something captivating about him and gains a +2 Test Bonus using skills with Presence as the governing Attribute against members of the opposite sex. • Ally (1) – Your Character has developed a close relationship with someone in a position to occasionally help him in times of need. An Ally (1) has average skills or some measure of influence. • Driven – Your Character will not succumb to adversity; Each episode, he receives two free Drama Points that can be spent only to overcome desperately difficult situations or situations requiring severe concentration. • Fearless – Your Character is virtually fearless and is undaunted in the face of great danger and the unknown. Each episode, your Character receives two free Drama Points that can be spent only in fearful situations, such as when outclassed in battle or attempting a dangerous stunt. • Tager – Your Character has what it takes to be a Tager. • Tager Exceptional – Not only does your Character have what it takes to be a Tager, he’s got that special something inside of him that calls to an exceptional Tager. • Wary – Your Character has an intuitive sense for dangerous situations, which gives him a special chance to identify danger before it is encountered. Drawbacks • Dark Secret (2) – There is something from your Character’s past that must not be discovered by others. Dark Secret (2) is hazardous; discovery might seriously affect his chances of promotion or advancement or could gain him a powerful enemy. • Debt (1) – Your Character begins with less money and financial assets than normal and is considered lower class. He has a small residence, an older vehicle, and very little disposable income. • Depressive – Your Character is prone to depressive mood swings. At the beginning of any episode, he must succeed at a Challenging Tenacity Feat Test or suffer a –1 Test Penalty to all Tests for the next one to five hours (half a die). • Duty (1 or 2) – This Drawback represents your Character’s responsibilities to his organization. (1) means your Character’s duty demands only a portion of his time, while (2) means it demands most of his time. • Fanatical (2) – Your Character is fanatically dedicated to some sort of ideal. Fanatical (2) means your Character will willingly place himself in great danger in defense of the ideal. • Impetuous – Your Character prefers action – and not in a good way. He must succeed at a Challenging Tenacity Feat Test in order to not rush forward with the most obvious and least thought out course of action. • Mean – Your Character derives great pleasure from the pain and suffering of others, physically or psychologically. Whenever your Character is in a position to inflict unnecessary pain upon a potential victim he must make a Challenging Tenacity Feat Test to resist the urge. • Repellent (1) – Your Character is, to put it plain and simple, unattractive. He may be ugly, have unflattering facial scarring, poor personal hygiene, bad personal habits, or he could just plain be an asshole. He suffers a -1 Test Penalty when making Tests using Skills with Presence as the governing Attribute. • Rival – Your Character has a rival of approximately equal ability who shares a similar goal, be it certain a role in his organization, a romantic interest, or the like. • Truly Honest – Your Character cannot lie – he’s just plain bad at it. He receives a –4 Test Penalty when he tries to lie as only the most unobservant can’t catch it. Tager Rules Attributes Tager symbionts increase the Attributes of their hosts. Each Tager Character has two sets of Attributes – one set for their normal form and one for their shifted form. This also means that they have two sets of Secondary Attributes. Abilities • Tagers can shift instantly between their two forms. This ability cannot be constrained by restraints or physical objects. The symbiont will mystically destroy any such obstacles in order to manifest. • Tagers have microhooks on their hands and feet which allow them to cling to and crawl on sheer surfaces like an insect. • Tagers can perform super-human leaps and jump double normal distances, sometimes more. • Tagers are considered sealed against gas or biological attacks and can produce their own air for short periods of time. This internal air supply lasts for two hours. They have full mystical life support and can even withstand the depths of the ocean or the vacuum of space. • Characters receive a +4 bonus to Fear Tests when shifted into Tager form. • Tagers, regardless of form, have the ability to detect Dhohanoids (and other Tagers) in their mortal guise. By spending one minute carefully observing a person, and succeeding at a Challenging Observation Test, a Tager can figure out whether or not he’s watching a monster. • Tagers within one mile of each other, when shifted, are mindlinked. This mindlink allows shifted Tagers to soundlessly communicate through a form of limited telepathy, as well as know what other Tagers are nearby and alive. This does not allow Tagers to know precisely where each other is, how far they are away from each other, or if they are hurt. It only senses whether they are nearby and alive or dead. Tager Senses • Broadband Audio – Hearing is twice as sensitive and can register super and subsonic ranges. Range Hearing, 360°. • Long Range – Doubles all sensor ranges. • Nightvision – Used to see in very low light conditions, though not in complete darkness. Vision is green and white, not color. Range Sight. • Scan – Gathers vital statistics on living things, including whether or not something is alive or dead, its age, its gender, its level of health, and whether or not it is diseased. Range 100 yards. • Sonar – Only usable underwater; bounces sound waves to paint a picture of all objects within range, including terrain features. Range 1 mile, 360°. • Thermal – Registers heat signatures. Range 100 yards. • X-Ray – Uses X-rays to see through most materials, registering dense substances, including metals and bones. Range 50 yards. Combat • Tagers use their Fighting skill instead of their Armed Fighting skill when wielding their natural non-projectile weaponry, such as blades or claws as these weapons are an extension of their body. • Tagers regenerate Vitality, even in their natural mortal form. The number listed first represents the amount of Vitality they regenerate every hour in their natural form and the second number listed is the amount of Vitality they regenerate each turn in their shifted form. • Each Tager has what is called a Limit Weapon which is very powerful. Limit Weapons can only be used once every 24 hours To activate the attack the Tager must first succeed at a Hard Tenacity Feat Test. Using a Limit Weapon requires all of a Tager’s Actions for the turn and can be the only Action that turn. • The hands of a shifted Tager are too large to use conventional weaponry. However, the Eldrith Society has modified some types of weapons, including assault rifles and man-portable anti- mech weaponry, with larger grips, triggers, and trigger guards for Tager use. The availability of these special weapons is up to your Storyguide. • Tagers have a Fear Factor, which represents the Difficulty for Fear Tests for mortals who observe their monstrous forms. Gear Since most of the Characters in CthulhuTech are middle-class, feel free to give them whatever normal kinds of possessions might apply. Assume they all have PCPU’s (peeks) – portable computers with wireless access that are also phones and debit/ credit cards. If you want to give them firearms, several are outlined in the Head Case adventure.