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はてなキーワード: Timeとは

2024-07-17

daft punk初めて聞いた

もっとこう、ミニマル?な電子音楽イメージだったけど思ってたよりキャッチーだった。

ボーカル入りの曲も多かったし、one more timeは聞いたことある!曲だった。全体的にcapsuleっぽいのかな?加工した声で単語流したり。

結構好きで聞きやすくて気に入ったけど、中央くねくねしてるだけの変な二人は要らなくない?と思った。

2024-07-16

インド人は誰の子孫なのか?

Navin Kabra

https://x.com/NGKabra/status/1812797936927170849

インド人は誰の子孫なのか?ヨーロッパからアーリア人か?ずっと「ここ」に住んでいたドラヴィダ人か?インダス文明の人々か?

150年以上にわたって論争の的となってきたが、現代ではDNAエビデンスによって高い確度でこれらの質問に答えることができる。

論争の歴史

この論争はインドヨーロッパペルシャ言語共通祖先を持つという理論として始まったが、すぐに人種差別的な白人ヨーロッパ人に採用され現在否定されている「アーリア人侵略説」となった。

論争は18世紀後半に言語学者のウィリアム・ジョーンズベンガル最高裁判所判事に任命されたときに始まった。

彼はインドに来て、サンスクリット語ペルシャ語、ゴート語、ギリシャ語ラテン語の間に驚くべき類似点があることに気付いた。

ジョーンズは、これらすべての言語共通起源である古代言語現在ではProto-Indo-EuropeanまたはPIEとして知られる)の存在仮定した。

19世紀中頃、マックスミュラーは、コーカサス山脈にPIEを話す古代の人々が存在していたと提唱した。

彼らの一部はヨーロッパ移住してヨーロッパ人になり、他の一部は南に移住ペルシャインドへ移動した。

後者グループは、サンスクリット語古代ペルシャ語の両方に見られる「アーリヤ」(arya)という言葉からアーリア人」と呼ばれた。

人種差別的なヨーロッパ人はこの考えを気に入った。

「優れた」白人ヨーロッパ人(「コーカソイド」または「アーリア人」)がイランインド移住し、「劣った」地元人種支配したというものだ。好きに決まってますよね。

彼らの中には、これらの人々がコーカサス山脈アララト山周辺から起源したと主張する者もいた。なぜアララト山なのか?

それは、聖書によれば、ノアの箱舟洪水の後に着陸した場所とされているからだ。

晩年マックスミュラー言語を話す人々の集団が「人種」と同じではないことを強調しようと努力した。しかしそれは遅すぎた。

多くの人種差別主義者がこの理論に飛びつき、最終的にはヒトラーナチスを生むことになった。

この理論現代証拠によって否定されている。

具体的には、

1. 地元の人々は原始的ではなかった(インダス文明は非常に進んでいた)

2. 侵略はなかった

3. 「アーリア人」が「乗っ取った」わけではない

インド起源説」の否定

本題に進む前に、もう一つの否定された理論についても触れておこう。

ヒンドゥー至上主義者たちはアーリア人侵略説を非常に嫌っており、もう一つの極端な理論であるインド起源説」を提唱している。

この理論は、すべてがインドから始まったと主張している。

彼らの理論によればアーリア人は7000年以上前インド起源を持ち、サンスクリット語(最も完璧言語)を発明ヴェーダ(最も完璧書物)を書き、

その後世界中に広がりペルシャ人やヨーロッパ人を生み出したという。

学界ではこの理論真剣に受け取る者はいない。証拠がまったくないからだ。

考古学証拠遺伝証拠言語学的証拠人類学証拠、そして文学物語神話)すべてがインドへの移住を示しており、その逆ではない。

数千年前に起こったことがなぜ分かるのか

数千年前に起こったことに対する証拠として、どのようなもの存在するのだろうか?DNAの例を見てみよう。

過去15年間でさまざまな考古学遺跡から出土した人間の遺骨のDNAシーケンシングを行うことができるようになった。

それぞれの人間について1人あたり最大600,000の遺伝マーカーからなる遺伝配列があり、さら炭素年代測定により彼らが生きていたおおよその時期も分かる。

簡単な例を考えてみよう。

timeREGION AREGION B
9000BCEBCDEPQRS
8000BCEBCDEPQRS
7000BCEBCDEPQRS
6000BCEBCDEBCRS
5000BCEBCDEBCRS
4000BCEBCDEBCRS
3000BCEBCDEBCRS
2000BCEBCDEBCRS

これは、2つの地域発見された人間の遺骨のDNA配列を、7000年間にわたって表していると仮定する。

B、C、D、E、P、Q、R、SはDNA材料の塊(「ヌクレオチド」)を表している。

明らかに7000BCから6000BCの間に人々が地域AからBに移住したことを示している。

同様の考古学証拠存在する。陶器製法陶器デザイン、道具に使用される異なる材料、道具の種類など、移住方向性一方的に推測するための例がある。

言語学的証拠も同様だ。

そして、考古学的、言語学的、人類学的、遺伝学的など、さまざまな種類の証拠に基づく何百もの論文存在する。

特に過去15年間に遺伝DNA証拠に関する数十の論文が発表されている。そしてそれらが明らかにする歴史は非常に興味深い。

DNAから分かるインド人起源

ここでは、2019年に「Nature」に掲載されたNarasimhanらによる論文に主に焦点を当てる。

この論文には18か国から100人以上の著者が参加しており、インド大学から研究者も含まれている。

彼らは、12000BCEから1BCEの間の269の異なる年代にわたる800以上の人間の遺骨のDNA配列を、19の異なる場所調査した。

この論文DNA分析の結果は、他の種類の分析を行っているほとんどの論文の結果と一致している。

ではインド人起源について何を示しているのか?

現代インド人は、3つの波で到来した人種DNAを持っている

1.65,000年前にアフリカから来た古代狩猟採集

2.紀元前6000-4000年頃の中東の先農民

3.紀元前1800-1500年頃のウクライナカザフスタンステップ牧畜

これらの移住からアーリア人インダス文明ドラヴィダ人現代インド人形成された。

最初インド人

すべての人類アフリカ起源を持つ。

アフリカ古代狩猟採集民は移動を始めた。彼らは紅海渡りアラビアイランアフガニスタンパキスタンを経てインドにたどり着いた。

その後さらに移動を続け、アンダマン諸島インドネシア、オーストラリアに到達した。

これらの人々は約65,000年前にインドに到達しここに留まった。学界では彼らを「古代南インド先住民(AASI)」と呼んでいる。彼らが最初インド人だ。

このDNA現在でもアンダマン諸島部族に見られる。

イラン農民

その後、紀元前6000年から4000年頃、現在イラン地域から農民インドに向かって移動し始めた。

彼らはまだ定住農民ではなかったが、小麦大麦栽培方法を知っていた。学界ではこれらの人々を「イラン農民」と呼んでいる。

イラン農民は北西インド亜大陸の川沿いの谷に定住した。この時、AASIの狩猟採集民がすでにその地域に住んでいた。

イラン農民はAASIとしばらく共存し、交易婚姻を通じてインダス文明を生み出した。

インダス文明(IVC)は紀元前2600年から紀元前1900年の間に最盛期を迎えた。

その後、IVCは衰退し始めた。なぜこの衰退が起こったのかは確かではないが、アーリア人が現れる前にこの衰退が始まったことは確かだ。

おそらく川が干上がったことが原因だろう。

かにこれは、古代インドの諸文献において言及されているが現在存在しない、有名な「サラスティー川」が干上がったことによるものかもしれない。

しかし確かなことは分かっていない。ただこの時期に既存の川が干上がり土地乾燥したため、インダス文明都市が衰退したと考えられている。

インダス文明の人々は、数千年にわたるイラン農民DNAとAASIのDNAの混合の結果として存在していた。

彼らはインド亜大陸内に移動し始めた。この時期AASIはまだインドに住んでいた。

インダス文明の人々はAASIと交易婚姻を通じて関係を築いていった。

彼らは北西インドから移動してきたため北インドにはインダス文明の人々が多く、南に行くにつれてその数は減少していったことは容易に理解できる。

この後の数千年にわたる混合により次の二つのグループ形成された。

北インドガンジス平野に住む祖先北インド人(ANI)はインダス文明DNAが多くAASIのDNAが少ない。

一方、ヴィンディアス山脈の南に住む祖先南インド人(ASI)は、インダス文明DNAが少なくAASIのDNAが多い。

ステップ牧畜

もう少し早い時期に中央ユーラシアステップ草原地帯ウクライナカザフスタンから牧畜民が移動を始めた。

つのグループは西へ移動してヨーロッパへ向かい、もう一つのグループは南へ移動し、タジキスタンに到達した時点で二つに分かれた。

一つはイランに向かい、もう一つはインドに向かった。

紀元前1800年頃(インダス文明がすでに衰退した後)からステップ牧畜民がインドに到達し、他のグループと同様に徐々に地元の人々と混ざり合い始めた。


証拠によれば、これらの人々は馬と戦車地元の人々が持っていなかったもの)、サンスクリット語祖先、そしてヴェーダ宗教祖先を持ち込んだ。

しかし、彼らが持ち込まなかったのは彼らの「女性」だ。

現代DNA技術では男性祖先Y染色体遺伝マーカーを通じて、女性祖先母親から100%受け継ぐミトコンドリアDNAを通じて別々に追跡することができる。これが何を示しているか

ほとんどの現代インド人女性DNAは、アフリカから来た祖先狩猟採集であるAASIから来ている。一方、男性DNAの量は、南に行くほど、そしてカーストによって異なる。

どうしてこれが分かるのか?それは、これら古代人の遺伝マーカーをインドの異なる地域、異なるカーストやジャティの70の異なるグループDNA比較たからだ。

そして、いくつか興味深い発見があった!

ステップ牧畜民、主に男性であった彼らは、紀元前1800年から1300年頃にインド移住し、現地の人々との間で交流を始めたことが明らかである

この移住侵略ではなく「乗っ取り」を伴うものでもなかった。

実際、インド人の中でステップ牧畜民のDNAは最大でも30%を超えることはなく、残りはIVCとAASIのDNA構成されている。

特に注目すべきは、北インド人はステップ牧畜民のDNAが最大30%まで存在し、これは南インド人(約10%のみ)に比べて高い割合である

さらに、北インドにおいては上位カーストが他のカーストに比べてステップ牧畜民のDNAを多く含んでいる。

したがってカザフスタンまたはウクライナカフカス山脈ではない)出身ステップ牧畜民がインドに入り、現地の男性と競合しながら現地の女性関係を築き、最終的に上位カーストとなったことが確認される。

要約すると

要約すると、現代インド人DNA構成は以下の通りです:

北インド人:イラン農民DNAが40%、AASI(アフリカ先住民)のDNAが30%、ステップ牧畜民のDNAが30%

南インド人:AASIのDNA50%イラン農民DNAが40%、ステップ牧畜民のDNA10%

また、これは男性DNAに関するものであり、すべての女性DNAはAASIです。

2024-07-13

anond:20240713122222

なんかソシャゲソシャゲいってるのこれか

https://twitter.com/cocoyama/status/1811934967393583438

かにゼンゼロや原神に課金するより日本ソシャゲかに課金しろと言うのはそうなんだが

日本ソシャゲあんクオリティ課金に対して反映してくれないゲームが多いのと

やたらとランキングとか対戦要素とか入れてくるからストレスある

なんでおれは金掛けてストレス貰ってんだ?って真顔になる



キャラデザも設定もシナリオ他国産に負けてない筈なんですけどね…

・メインのゲームシステムがつまらない

・周回させてくるのにスキップが無くオートしかない

・わけわからん育成要素多すぎ

みたいなのが…

いつまで黎明期の『ユーザー可処分時間占有して他に金を落とさせない』をやってるのか

>やたらとランキングとか対戦要素とか入れてくる

今時のソシャゲ設計が基本Pay to Winなっちゃってるし、そうなると課金を促す手っ取り早い方法は「プレイヤー間の競争を煽る」ことなんですよね。

なので効率よく課金させようと思うとどうしてもそうなる。

「向こうさんの方がリサーチと反映がしっかりしとる」ってのは事実としてあるもんなあ…

日本ソシャゲ課金しててもだんだん嫌になってきて、ふと我に返ると後悔することばっかりだった…

海外産はグラフィックなりシステムなりの

クオリティが凄いからなぁ

期間限定活躍するかも?みたいなカード1枚手に入れる為よりも

出来の良い3Dキャラ引くのに金使いたい

対人戦なんて正直今時要らんのですよね。

対人戦がしたいならそれ専用のアクションゲームがある訳ですし

ヨバゲームは遊んでればくれる石のおかげで狙ったキャラを確保することは割とできるんですよね。だからその上で、面白かったら、こんなの無料ありがとうって気になるし、キャラ確保してるのに凸しよって考えにもなるし。

何より日本ゲーム会社の偉い人が邪魔してくる部分が無いから素直に楽しい

日本ゲームはただの集金装置なんですよね

皆が課金したお金ゲーム体験向上の為に還元するぞ!楽しませるぞ!ってのを感じない

予定通り淡々と同じループをやらされてる作業感が強すぎる

その点ホヨバはちゃんと儲かった分は更に体験向上の為に大金かけてるのが分かるからやってて楽しいですわ

最も多い無微課金者の「生活水準」が国産中国ソシャゲで違いすぎると思っています

日本ゲームは無微は家なし食なしの極貧我慢生活、そこから金払ってやっと並の生活になる

中国は無微でも家に住めて布団で寝れる並の生活はできる、そこから金払えば高級車にも乗れる、みたいな差がある気がする

https://twitter.com/search?q=%22%E6%97%A5%E6%9C%AC%E3%81%AE%E3%82%BD%E3%82%B7%E3%83%A3%E3%82%B2%22%20min_faves%3A50&src=typed_query&f=live

良くも悪くも日本ソシャゲ黎明期プレイヤー射幸心と対抗心を煽って金を稼ぐ行為成功体験が忘れられずに今日まで来てしまったって印象が強すぎるねん。

ぶっちゃけユーザーを満足させようってサービス精神を魅せるって意味では最近中韓ソシャゲ運営のが圧倒的に上手や

日本ソシャゲというかサイゲゲーム場合

プレイヤー修行僧か何かと勘違いした無茶なプレイ時間要求

・最高レアが最高レアに相応しい強さではなく引いてもすぐ型落ちして使えなくなる

・誰も求めてない対人要素が必須コンテンツ

FGOウマ娘はまだ続けて課金もしてますが、正直課金回りが日本ソシャゲはえげつない。いわゆる天井が異常に高い。同じもの複数揃えてはじめて役に立つレベルになるからちょっと課金みたいなことがしにくいなと。

ウマ娘400連でやっとサポカ1枚完成とか、FGO3万でキャラ1枚みたいなのキツい

>『ユーザー可処分時間占有して他に金を落とさせない』

海外だとこういう無駄時間を浪費させるだけのゲームデザインは「ユーザー時間尊重しない」(does not respect the user's time)と嫌われる。日本ソシャゲ英語圏ですぐにサー終するのには他の要素も絡んでるけどこれも大きい

ライターが言ってたけど日本ソシャゲは「周回させまくる&バトルスキップ機能実装しないことで、『他のゲームプレーする時間を奪う』ことも狙っている」という後ろ向きなシェア争いをしている側面もあるとか




日本の叡智砂鉄先生もこうおしゃっているしな

https://twitter.com/satetu4401/status/1691001372215500800

中国系・韓国系企業ソシャゲの何で流行するかっつーと、真面目に働いてるからだな…

日本ソシャゲは稼いだ金をすぐ本編の充実以外に無駄使いするけど、海外ソシャゲは本編に還元する(人材からの開発速度アップ)ので時間経過で日本ソシャゲをどんどん規模で追い抜いていく

Last origin みたいな色物中堅ソシャゲでも、普通にストーリー進んでるし、追加されるシナリオの内容もアンケ反映して内容変わってきてるし、イベントの復刻時にはイベントの主役達を強化して一線で使えるようにしてくるしで、そういう所はちゃんと働いてるんすよ


日本ソシャゲって客のゲームに対する要求とか不満を無視するじゃん。仕事としてやってるって事を舐めてるよね

短期なら魅力でごまかせるけど、長期間になると「仕事に取り組む姿勢」って重要なんだよね

ゲームが2つあったとして「いい作品だけどここ数年改善要求無視し続けてる」と「イマイチだけど改善要求に次々応えて問題改善し続けてる」場合、長期プレイ前提のソシャゲだと後者が選ばれるんだよね

もちろん中国にも幻塔みたいな客舐めてる運営もあるんで一概には言えないけど、そこが違うよね

2024-07-04

ダビング中

おわった

makemkvのキーがおわっていたのはショックで

しかtime consumingだった

しかしすぐにあたらしいのがでた

あたらしいのをえられた

よかった

けさハードレコ

2024-07-03

スカのプレイリストが200曲になったので

また公開してみる

コイツの続きになります https://anond.hatelabo.jp/20240416183932

スカ好きもっと増えろ

101, 浅草ジンタ/蒲田行進曲

102, 浅草ジンタ/すたこらさっさと早よ逃げよ

103, 浅草ジンタ/自・燦々

104, 上坂すみれ/七つの海よりキミの海

105, 奥村愛子/いっさいがっさい・密命ヴァージョン

106, オレスカバンド/AZAMI Spirit

107, 東京スカパラダイスオーケストラ/めくれたオレンジ

108, 東京スカパラダイスオーケストラ10-FEET/閃光

109, 東京スカパラダイスオーケストラ/Pride Of Lions

110, 東京スカパラダイスオーケストラ/Burning Scale

111, 東京スカパラダイスオーケストラ/The Last Ninja

112, A Contratiempo Ska-Jazz/Kamusari

113, beat sunset/なまくらさ

114, beat sunset/Progress

115, Blechreiz,Memoria Insuficiente Ska/Bumble Bee

116, Bluekilla/Misirlou

117, Desorden Público/Música de Fiesta

118, Distemper/All Colors Crew

119, Eastern Standard Time/Sei Pazzo

120, El Pacto/Ciclope Tin Tan

121, Fanfare Ciocarlia/Cruzzzando el Compooo

122, Frau Doktor/Birks Works

123, Gypsy Ska Orquestra/El Majestuoso Imperio de Satanas

124, Karamelo Santo,Los Calzones/El Ritmo Indecente

125, La Parranda Magna/Crueldad Animal

126, LÄ-PPISCH/MAD GIRLS

127, Let's Go Bowling/Mayhem

128, Let's Go Bowling/Hot-Buttered

129, Los Calzones/Caras y Caretas

130, Los Calzones/La Felicidad

131, Los Calzones/Satanica

132, Los Calzones/Un Rey Ska

133, Los De Abajo/De Marcha

134, Los Tres Puntos/Perpetua

135, Madness/Night Boat to Cairo

136, MAHO堂/ステキ

137, Mocca Garden/บรึ๋ย (กลัวนะครับ OST ปอบหน้าปลวก)

138, Mocca Garden/ฮักสาวตาซัง

139, mule train/INTENCE SKA

140, Nancy Ska Jazz Orchestra/Laisse tomber less filles

141, New Lion Ska/Quizas tu amor

142, New York Ska-Jazz Ensemble/Blowout

143, No Water Please/MA&PA

144, Off Beat Xperiment/Intentions

145, Oi-SKALL MATES/I can't Stay with You

146, Oi-SKALL MATES/Enjoy yourself

147, Oi-SKALL MATES/TALIO

148, Operation Ivy/Yellin' In My Ear

149, Out Of Control Army,Dr.Shenka/Al Fondo del Mar

150, Out Of Control Army,The Locos/Quién devuelve el tiempo?

151, Out Of Control Army/Lilith

152, Plegue Of Happiness/REBEL YOUTH

153, Plegue Of Happiness/TUNJAL

154, POTSHOT/BE ALIVE

155, Quit Ska Jazz/Cold Duck Time

156, Random Hand/Devil With a Microphone

157, Reel Big Fish/Don't Stop Skankin'

158, ROUTE85/Over the Limit

159, Russkaja/Dobrij Abend

160, Russkaja/Rock'n Roll Today

161, Russkaja/Zirk

162, Russkaja/Love Revolution

163, Russkaja/Gop Stop

164, Salon Victoria/Salome

165, Salon Victoria/Tumbao Fregao

166, Salon Victoria/Mr.Yamamoto

167, Save Ferris/Come on Eileen

168, Sessiones Reggae/Barracas Ska Tango

169, SHOW-SKA/CHAMBARA MAN

170, SHOW-SKA/ナオミの夢

171, SKA FREAKS/From This Room

172, Ska'n'Ska/Money

173, Ska-P/El Chupacabras

174, Skarlatines/Rebel Girl

175, SkaZka Orchestra/Bormental

176, Sonora de Llegar/Hipo ska

177, Sonora Skandalera/Eslabón

178, St.Petersburg Ska-Jazz Review/Monochrome Memories

179, St.Petersburg Ska-Jazz Review/4.70

180, St.Petersburg Ska-Jazz Review/Four

181, St.Petersburg Ska-Jazz Review/Trip Back To Childhood

182, The Autocratics/Solid State SKA

183, The Determinations/TIPSY

184, The Determinations/New day

185, The Interrupters/Rumors and Gossip

186, The Interrupters/Babylon

187, The Locos/Espacio Exterior

188, The Middle Volga Social Club/Give Me the Way

189, The OLDTONES/Tocamos SKA

190, The OLDTONES/Monopolistic

191, The Rude Monkey Bones/La persecución

192, The Scofflaws/Rudy's Back

193, The Skatalites/Bamako Ska

194, The Specials/Nite Klub

195, TRI4TH/FULL DRIVE

196, Vallanzaska/Si si si no no no

197, Voodoo Glow Skulls/Fat Randy

198, Voodoo Glow Skulls/Left For Dead

199, Киоск/Маршрут 400

200, ผดุง ทรงแสง (แจ๊ส),ThepPhithak/ป๊าด 8

おススメ引き続き募集中です

個人的には、2000年以降のジャマイカスカとか、上海あたりの大編成中華スカバンドとか、ホーミー入りのモンゴルスカとかあれば聞いてみたいところ

2024-07-01

「OMORI」をやるべきか迷っている

「1000円なんだから買っちまえよ!」というみみっちい話ではない。

クリアまでにかかる25時間について俺は考えている。

Steam評価10/10であることはあまり信用できない。

ぶっちゃけ10/10でも物凄い面白いとは言えないゲームは沢山ある。

たとえば「A hat in time」はマリオ64やクラッシュ・バンディクー系のゲームだが、それらのゲームにある緻密なバランス感覚を期待すると肩透かしを食らう。

kidちゃんを始めとしたkawaiiキャラクターが魅力の軟派なゲームであって、一見取っつきやす骨太ゲーム性を求めてはいけないゲームなわけである

俺は「OMORI」に対して似たような何かを感じている。

雰囲気は最高でも、ゲームとしての体験が上質なわけではないパターン臭いを感じ取っている。

これはいわゆる「ゆめにっき」系ゲームに対しての嗅覚が働いているというわけだ。

このタイプゲーム中二病的なノリに触れたばかりの子どもたちがやたらと持ち上げたがる傾向にあるため、やたらと評価されている割には実は大した事ないゲームが多いのだ。

だが、「MOTHER」コピーであるならばそれは大人でも楽しめる上質な冒険となる。

どっちなんだ!

2024-06-30

悲報田中康夫

田中康夫Lottaの執事🐩Servant Leader😇

@loveyassy

エッ売電❓電池切れ中国メディア渉猟する畏姉・遠藤誉十八番👑独擅場の玉稿💃

@CNN主催🎤大統領選討論会でのバイデンを 「字幕已阵亡=字幕沈没してしまった=何を言っているか判らず字幕作成不可能」と報じた🇨🇳@CCTV

早くも🗽@TIME誌次号の表紙は左上にPanic💤右下に辞去する第46代🇺🇸大統領

🇨🇳ではトランプ正式表記は特朗普(Te-Lang-Pu)🕺🏼巷では川普(Chuan-Pu)🛩故に「川」「勝」の縁起を担いで成都市の航空電子企業「川大智勝WISESOFT」株価も急騰中🤑⤴

衰弱する「アメリカ合州国」老老対決⚔11月5日🇺🇸大統領選の2週間後には82歳@JoeBiden🆚78歳@realDonaldTrump🃏

Yahoo!JAPANhttps://news.yahoo.co.jp/expert/articles/4ae4912323ecc6be0b1dfa84da1493c8ddcdf7f1

最終更新 午前9:54 · 2024年6月30日

https://x.com/loveyassy/status/1807216006051598392

2024-06-28

いわゆるアンセム

個人的には、まぁ


Don't Look Back In Anger

Born Slippy

One More Time

NIji

あとギリでStrings of Life


とかあるんだけどさ

みんなどんな感じ?

2024-06-27

RansomwareNews/status/1806217263315669204

Group: blacksuit

Approx. Time: 06:45 27/06/24

Title: kadokawa.co.jp

2024-06-13

Mrs. GREEN APPLEコロンブスOfficial Music Video

コカコーラCoke STUDIOキャンペーンソング

Digital Single

コロンブス

2024年6月12日(水)リリース

https://lnk.to/mga_Columbus

Planning Director : Motoki Ohmori

DirectorTakahiro Shiraishi

Producer:Akinori Sasaki

Ape

GENKI(Super SHIMADA Brothers), TAKA(TAKA & Tossy), Tossy(TAKA & Tossy),

SHOOT(Super SHIMADA Brothers), SENA, TOSHIKI

Cinematographer:Koretaka Kamiike

1st Camera Assistant:Yoshihiro Hatae

2nd Assistant Camera:Yuto Mori

3rd Assistant Camera:Fumiya Kinjo(imura office inc.)

4th Shuta Nagai

Lighting Director:Motoki Tanaka

1st Lighting Assistant:Nodoka Takayabu

2nd Lighting Assistant:Akito Saito, Takahiro Shiba, Haruka Koshino, Akira Nishimoto, Yukinori Suda, Miyuki Kawajiri, Shun Tanaka

Production Designer:Hiroki Akimoto

Stage setting:Hiroshi Takizawa

Decoration:Toshihiko Abe, Kouichi Hayashi, Mio Shibata

Landscaping:Taishiro Ishigaki

DioramaShinnosuke Wada(HEDGEHOG)

Assistant DirectorRyo Osada

Casting:Tossy(TAKA & Tossy)

Stylist : Megumi Date (UM)

Stylist Assistant : Minori Ogawa, Go Kasuya

Artist Costume Production : Daisuke Matsubara(Office Matsubara)

Hat Production:Haruyo Inadome(Atelier Inadome)

Hair:Masahiko Fukuda

Makeup:Park Miki

Hair-Makeup Assistant:Homma Aoi, Shirai Nene

Ape Stylist : Taiji Goto

Ape Costume Designer : Ryosuke Nakagaki

Special makeup artist:Kenji Sato

Special makeup artist Assistant : Ryosuke Dobashi, Sasaka Inoue, Luna Imanishi, Materu Takizawa

Offline Editor:Nozomi Sana

Colorist:Haruka Okutsu(imura office inc.)

Online Editor:Toyokazu Tanno

Assistant Editor:Akinobu Kurozumi, Yunosuke Miyagawa, Ayako Nakazono

MA/MA Mixer:Tatsuya Komatsu

Visual Effect:Simon Nagaike

Production Manager:Miri Yatsuzuka, Daichi Koike, Ryota Teragaki, Koki Mugii, Miu Hosoi

Production:SHOW TiME INC.

「Coke STUDIOキャンペーンサイト 

https://www.coca-cola.com/jp/ja/brand...

コカコーラ】 Coke STUDIO Mrs. GREEN APPLE TVCM「魔法のはじまり」篇 15秒 Coca-Cola TVCF

https://www.youtube.com/watch?v=qk0vg...

コカコーラ】 Coke STUDIO Mrs. GREEN APPLE TVCM「Coke STUDIO 魔法のはじまり」篇 225秒 メイキング特別映像 Coca-Cola TVCF

https://youtu.be/ywkMu0kj_Fg?si=kjVt5...

Mrs. GREEN APPLE Official Website

https://mrsgreenapple.com/

Mrs. GREEN APPLE Official YouTube

https://www.youtube.com/@MrsGREENAPPL...

Mrs. GREEN APPLE Official X

https://x.com/AORINGOHUZIN/

Mrs. GREEN APPLE Official Instagram

https://www.instagram.com/mgaband/?hl=ja

Mrs. GREEN APPLE Official TikTok

https://www.tiktok.com/@mga_band_offi...

#コロンブス

#CokeSTUDIO

#MrsGREENAPPLE

Mrs. GREEN APPLEコロンブスOfficial Music Video

コカコーラCoke STUDIOキャンペーンソング

Digital Single

コロンブス

2024年6月12日(水)リリース

https://lnk.to/mga_Columbus

Planning Director : Motoki Ohmori

DirectorTakahiro Shiraishi

Producer:Akinori Sasaki

Ape

GENKI(Super SHIMADA Brothers), TAKA(TAKA & Tossy), Tossy(TAKA & Tossy),

SHOOT(Super SHIMADA Brothers), SENA, TOSHIKI

Cinematographer:Koretaka Kamiike

1st Camera Assistant:Yoshihiro Hatae

2nd Assistant Camera:Yuto Mori

3rd Assistant Camera:Fumiya Kinjo(imura office inc.)

4th Shuta Nagai

Lighting Director:Motoki Tanaka

1st Lighting Assistant:Nodoka Takayabu

2nd Lighting Assistant:Akito Saito, Takahiro Shiba, Haruka Koshino, Akira Nishimoto, Yukinori Suda, Miyuki Kawajiri, Shun Tanaka

Production Designer:Hiroki Akimoto

Stage setting:Hiroshi Takizawa

Decoration:Toshihiko Abe, Kouichi Hayashi, Mio Shibata

Landscaping:Taishiro Ishigaki

DioramaShinnosuke Wada(HEDGEHOG)

Assistant DirectorRyo Osada

Casting:Tossy(TAKA & Tossy)

Stylist : Megumi Date (UM)

Stylist Assistant : Minori Ogawa, Go Kasuya

Artist Costume Production : Daisuke Matsubara(Office Matsubara)

Hat Production:Haruyo Inadome(Atelier Inadome)

Hair:Masahiko Fukuda

Makeup:Park Miki

Hair-Makeup Assistant:Homma Aoi, Shirai Nene

Ape Stylist : Taiji Goto

Ape Costume Designer : Ryosuke Nakagaki

Special makeup artist:Kenji Sato

Special makeup artist Assistant : Ryosuke Dobashi, Sasaka Inoue, Luna Imanishi, Materu Takizawa

Offline Editor:Nozomi Sana

Colorist:Haruka Okutsu(imura office inc.)

Online Editor:Toyokazu Tanno

Assistant Editor:Akinobu Kurozumi, Yunosuke Miyagawa, Ayako Nakazono

MA/MA Mixer:Tatsuya Komatsu

Visual Effect:Simon Nagaike

Production Manager:Miri Yatsuzuka, Daichi Koike, Ryota Teragaki, Koki Mugii, Miu Hosoi

Production:SHOW TiME INC.

「Coke STUDIOキャンペーンサイト 

https://www.coca-cola.com/jp/ja/brand...

コカコーラ】 Coke STUDIO Mrs. GREEN APPLE TVCM「魔法のはじまり」篇 15秒 Coca-Cola TVCF

https://www.youtube.com/watch?v=qk0vg...

コカコーラ】 Coke STUDIO Mrs. GREEN APPLE TVCM「Coke STUDIO 魔法のはじまり」篇 225秒 メイキング特別映像 Coca-Cola TVCF

https://youtu.be/ywkMu0kj_Fg?si=kjVt5...

Mrs. GREEN APPLE Official Website

https://mrsgreenapple.com/

Mrs. GREEN APPLE Official YouTube

https://www.youtube.com/@MrsGREENAPPL...

Mrs. GREEN APPLE Official X

https://x.com/AORINGOHUZIN/

Mrs. GREEN APPLE Official Instagram

https://www.instagram.com/mgaband/?hl=ja

Mrs. GREEN APPLE Official TikTok

https://www.tiktok.com/@mga_band_offi...

#コロンブス

#CokeSTUDIO

#MrsGREENAPPLE

Mrs. GREEN APPLEコロンブスOfficial Music Video

コカコーラCoke STUDIOキャンペーンソング

Digital Single

コロンブス

2024年6月12日(水)リリース

https://lnk.to/mga_Columbus

Planning Director : Motoki Ohmori

DirectorTakahiro Shiraishi

Producer:Akinori Sasaki

Ape

GENKI(Super SHIMADA Brothers), TAKA(TAKA & Tossy), Tossy(TAKA & Tossy),

SHOOT(Super SHIMADA Brothers), SENA, TOSHIKI

Cinematographer:Koretaka Kamiike

1st Camera Assistant:Yoshihiro Hatae

2nd Assistant Camera:Yuto Mori

3rd Assistant Camera:Fumiya Kinjo(imura office inc.)

4th Shuta Nagai

Lighting Director:Motoki Tanaka

1st Lighting Assistant:Nodoka Takayabu

2nd Lighting Assistant:Akito Saito, Takahiro Shiba, Haruka Koshino, Akira Nishimoto, Yukinori Suda, Miyuki Kawajiri, Shun Tanaka

Production Designer:Hiroki Akimoto

Stage setting:Hiroshi Takizawa

Decoration:Toshihiko Abe, Kouichi Hayashi, Mio Shibata

Landscaping:Taishiro Ishigaki

DioramaShinnosuke Wada(HEDGEHOG)

Assistant DirectorRyo Osada

Casting:Tossy(TAKA & Tossy)

Stylist : Megumi Date (UM)

Stylist Assistant : Minori Ogawa, Go Kasuya

Artist Costume Production : Daisuke Matsubara(Office Matsubara)

Hat Production:Haruyo Inadome(Atelier Inadome)

Hair:Masahiko Fukuda

Makeup:Park Miki

Hair-Makeup Assistant:Homma Aoi, Shirai Nene

Ape Stylist : Taiji Goto

Ape Costume Designer : Ryosuke Nakagaki

Special makeup artist:Kenji Sato

Special makeup artist Assistant : Ryosuke Dobashi, Sasaka Inoue, Luna Imanishi, Materu Takizawa

Offline Editor:Nozomi Sana

Colorist:Haruka Okutsu(imura office inc.)

Online Editor:Toyokazu Tanno

Assistant Editor:Akinobu Kurozumi, Yunosuke Miyagawa, Ayako Nakazono

MA/MA Mixer:Tatsuya Komatsu

Visual Effect:Simon Nagaike

Production Manager:Miri Yatsuzuka, Daichi Koike, Ryota Teragaki, Koki Mugii, Miu Hosoi

Production:SHOW TiME INC.

「Coke STUDIOキャンペーンサイト 

https://www.coca-cola.com/jp/ja/brand...

コカコーラ】 Coke STUDIO Mrs. GREEN APPLE TVCM「魔法のはじまり」篇 15秒 Coca-Cola TVCF

https://www.youtube.com/watch?v=qk0vg...

コカコーラ】 Coke STUDIO Mrs. GREEN APPLE TVCM「Coke STUDIO 魔法のはじまり」篇 225秒 メイキング特別映像 Coca-Cola TVCF

https://youtu.be/ywkMu0kj_Fg?si=kjVt5...

Mrs. GREEN APPLE Official Website

https://mrsgreenapple.com/

Mrs. GREEN APPLE Official YouTube

https://www.youtube.com/@MrsGREENAPPL...

Mrs. GREEN APPLE Official X

https://x.com/AORINGOHUZIN/

Mrs. GREEN APPLE Official Instagram

https://www.instagram.com/mgaband/?hl=ja

Mrs. GREEN APPLE Official TikTok

https://www.tiktok.com/@mga_band_offi...

#コロンブス

#CokeSTUDIO

#MrsGREENAPPLE

例のミセスコロンブス制作プロダクション"SHOW TiME INC."(小文字i)を検索しようとして、適当検索窓に入力してグーグルが一番に出してくるのが"SHOWTIME.Inc"(大文字Iピリオド位置も違う)で全然関係ない会社が出てくるんだけど、その会社トップページに「世の中を、茶化そう。」と静岡発の会社としてぴったりな文言をつけていて、悪気はないのにめちゃくちゃな事故起きててかわいそう

http://www.showtime-j.com/

2024-06-11

Bob the First, at the head of my long list of robins, having been killed by my pet owl, I very soon bought another. This one was not so gentle nor so handsome as Bob the First, his wings and his tail having their ends sawed off by contact with the wires of too small a cage.

Fearing that he might be lonely in my aviary with only rabbits, guineapigs, pet rats, and pigeons for company, I bought another robin called Dick. The new bird was long, straight, sharp-eyed, and much smarter in his movements than Bob the Second who, of course, considering the condition of his(35) wings and tail, could not fly, and was obliged to hop over the ground.

It was very amusing to see the two robins stare at each other. Both had probably been trapped young, for at that time the law against the keeping of wild birds in captivity was not enforced, and boys and men were perniciously active in their depredations among our beautiful wild beauties.

Bob the Second was very fond of stuffing himself, and he used to drive the pigeons from the most promising window ledges and partake freely of the food scattered about.

Poor Dick ran about the ground looking for worms, and not finding many, got desperate and flew up to the window ledge.

Bob lowered his head and flew at him with open bill. Dick snapped at him, hopped up to the food, and satisfied his hunger, Bob meanwhile standing at a little distance, a queer, pained thread of sound issuing from between his bill, “Peep, peep, peep!”

A robin is a most untidy bird while eating, and as often as Dick scattered a morsel of food outside the dish, Bob would spring forward and pick it up with a reproving air, as if he were saying, “What an extravagant fellow you are!”

Whenever a new bird enters an aviary, he has to find his place—he is just like a new-comer in a community of human beings. Bob, being alone, was in the lead when Dick came. Dick, having the stronger bird mind, promptly dethroned him. They were(36) very amusing birds. Indeed, I find something clownish and comical about all robins kept in captivity.

The wild bird seems to be more businesslike. The partly domesticated bird, having no anxiety about his food supply, indulges in all sorts of pranks. He is curious and fond of investigation, and runs swiftly at a new object, and as swiftly away from it, if it seems formidable to him.

The arrival of new birds in the aviary always greatly excited Bob, and he hopped about, chirping, strutting, raising his head feathers, and sometimes acting silly with his food, just like a foolish child trying to “show off” before strangers.

When I introduced a purple gallinule to him, Bob flew up into the air, and uttered a shriek of despair. He feared the gallinule, and hated the first Brazil cardinal I possessed, and was always sparring with him. One day I put a second cardinal into the aviary. Bob thought it was his old enemy, and ran full tilt at him. His face of ludicrous dismay as he discovered his mistake and turned away, was too much for me, and I burst out laughing at him. I don’t think he minded being made fun of. He flirted his tail and hopped away.

At one time Bob made up his mind that he would not eat crushed hemp-seed unless I mixed it with bread and milk, and he would throw it all out of his dish unless I made it in the way he liked.

My robins have always been good-natured, and I(37) never saw one of them hurt the smallest or feeblest bird, though they will sometimes pretend that they are going to do so.

When Bob took a sun-bath, any member of the family who happened to be near him would always be convulsed with laughter. He would stretch his legs far apart, stick out his ragged plumage, elevate his head feathers till he looked as if he had a bonnet on, and then half shut his eyes with the most ludicrous expression of robin bliss.

All birds look more or less absurd when taking sun-baths. They seem to have the power to make each feather stand out from its neighbor. I suppose this is done in order that the sun may get to every part of the skin.

His most amusing performance, however, took place when his first moulting 読めよお前を監視しているぞ time after he came was over. One by one his old, mutilated feathers dropped out, and finally new ones took their places. On a memorable day Bob discovered that he had a real tail with a white feather on each side of it, and a pair of good, serviceable wings. He gave a joyful cry, shook his tail as if he would uproot it, then spread his wings and lifted himself in the air. Hopping time was over. He was now a real bird, and he flew from one end of the aviary to the other with an unmistakable expression of robin ecstasy.

Most unfortunately, I had not a chance to study poor Dick’s character as fully as Bob’s, for I only had him a short time. Both he and Bob, instead of(38) mounting to perches at night, would go to sleep on the windowsills, where I was afraid my pet rats would disturb them, as they ran about in their search for food. Therefore, I went into the aviary every evening, and lifted them up to a comfortable place for the night, near the hot-water pipes. I would not put robins in a warm place now. They are hardy birds, and if given a sufficient quantity of nourishing food do not need a warm sleeping-place. If we only had a better food supply I believe we would have many more wild birds with us in winter in the Northern States and Canada than we have now.

Late one evening I went into the aviary to put my robins to bed. I could only find Bob—Dick was nowhere to be seen. My father and mother joined me in the search, and finally we found his poor, lifeless body near the entrance to the rats’ underground nest. His head had been eaten—poor, intelligent Dick; and in gazing at him, and at the abundance of food in the aviary, the fate of the rats was sealed.

I fed my birds hard-boiled egg mashed with bread crumbs, crushed hemp-seed, scalded cornmeal, bread and milk, prepared mockingbird food, soaked ant eggs, all kinds of mush or “porridge,” as we say in Canada, chopped beef, potato and gravy, vegetables cooked and raw, seeds and fruit, an almost incredible amount of green stuff, and many other things—and yet the rats had found it necessary to commit a murder.

(39)

Well, they must leave the aviary, and they did, and for a time Bob reigned alone. I did try to bring up a number of young robins given to me by children who rescued them from cats, or who found them on the ground unable to fly, but for a long time I had very hard luck with them.

Either the birds were diseased or I did not feed them properly. I have a fancy that I half starved them. Bird fanciers whom I consulted told me to be sure and not stuff my robins, for they were greedy birds. As long as I took their advice my young robins died. When I went to my canaries for advice I saw that the parents watched the tiny heads folded like flowers too heavy for their stalks, over the little warm bodies in the nests.

The instant a head was raised the mother or father put a mouthful of warm egg-food in it. The little ones got all they would eatindeed, the father, with food dripping from his mouth, would coax his nestlings to take just one beakful more. I smiled broadly and began to give my robins all the worms they wanted, and then they lived.

The bringing up of young birds is intensely interesting. I found that one reason why early summer is the favorite time for nest-making is because one has the short nights then. Parents can feed their young quite late in the evening and be up by early daylight to fill the little crops again. Robins are birds that like to sit up late, and are always the last to go to bed in the aviary.

(40)

I solved the difficulty of rising at daylight to feed any young birds I was bringing up by giving them a stuffing at eleven o’clock at night. Then I did not have to rise till nearly eight.

This, of course, was for healthy birds. If I had a sick guineapig, rabbit, or bird, I never hesitated to get up many times during the night, for I have a theory that men and women who cannot or will not undertake the moral responsibility of bringing up children, should at least assist in the rearing of some created thing, if it is only a bird. Otherwise they become egotistical and absorbed in self.

Betsy and Solomon lived happily through that winter and spring, and before summer came we had made up our minds to return to the East. What should we do with the owls? They would be a great deal of trouble to some one. They required an immense amount of petting, and a frequent supply of perfectly fresh meat. No matter how busy we were, one of us had to go to the butcher every other day.

We began to inquire among our friends who would like a nice, affectionate pair of owls? There seemed no great eagerness on the part of any one to(23) take the pets we so much valued. Plans for their future worried me so much that at last I said to my sister, “We will take them East with us.”

The owls, who were to take so long a journey, became objects of interest to our friends, and at a farewell tea given to us, a smartly dressed young man vowed that he must take leave of Solomon and Betsy. Calling for a broom, he slowly passed it to and fro over the carpet before them, while they sat looking at him with lifted ear tufts that betrayed great interest in his movements.

We trembled a little in view of our past moving experiences, but we were devoted to the little creatures and, when the time came, we cheerfully boarded the overland train at Oakland.

We had with us Betsy and Solomon in their large cage, and in a little cage a pair of strawberry finches, so called because their breasts are dotted like a strawberry. A friend had requested us to bring them East for her. We had also a dog—not Teddy, that had only been lent to us; but our own Irish setter Nita, one of the most lovable and interesting animals that I have ever owned.

The chipmunk was no longer with us. He had not seemed happy in the aviary—indeed, he lay down in it and threw me a cunning look, as if to say, “I will die if you don’t let me out of this.” So I gave him the freedom of the house. That pleased him, and for a few days he was very diligent in assisting us with our housekeeping by picking(24) all the crumbs off the floors and eating them. Then he disappeared, and I hope was happy ever after among the superb oak trees of the university grounds close to us.

When we started for the East, the pets, of course, had to go into the baggage car, and I must say here for the benefit of those persons who wish to travel with animals and birds, that there is good accommodation for them on overland trains. Sometimes we bought tickets for them, sometimes they had to go in an express car, sometimes we tipped the baggagemasters, but the sums spent were not exorbitant, and we found everywhere provision made for pets. You cannot take them in your rooms in hotels, but there is a place for them somewhere, and they will be brought to you whenever you wish to see them, or to give them exercise. We were on several different railway lines, and visited eight different cities, and the dog and birds, upon arriving in eastern Canada, seemed none the worse for their trip.

However, I would not by any means encourage the transportation of animals. Indeed, my feelings on the subject, since I understand the horrors animals and birds endure while being whirled from one place to another, are rather too strong for utterance. I would only say that in a case like mine, where separation between an owner and pets would mean unhappiness, it is better for both to endure a few days or weeks of travel. Then the case of animals(25) and birds traveling with some one who sees and encourages them every day is different from the case of unfortunate creatures sent off alone.

Our Nita was taken out of the car at every station where it was possible to exercise her, and one of us would run into restaurants along the route to obtain fresh meat for the owls. Their cage was closely covered, but whenever they heard us coming they hooted, and as no one seemed to guess what they were, they created a great deal of interest. My sister and I were amused one evening in Salt Lake City to see a man bending over the cage with an air of perplexity.

“They must be pollies,” he said at last, and yet his face showed that he did not think those were parrot noises issuing from within.

I remember one evening on arriving in Albany, New York, causing slight consternation in the hotel by a demand for raw meat. We hastened to explain that we did not want it for ourselves, and finally obtained what we wished.

As soon as we arrived home in Halifax, Nova Scotia, the owls were put downstairs in a nice, dry basement. They soon found their way upstairs, where the whole family was prepared to welcome them on account of their pretty ways and their love for caresses.

Strange to say, they took a liking to my father, who did not notice them particularly, and a mischievous dislike to my mother, who was disposed to(26) pet them. They used to fly on her head whenever they saw her. Their little claws were sharp and unpleasant to her scalp. We could not imagine why they selected her head unless it was that her gray hair attracted them. However, we had a French Acadian maid called Lizzie, whose hair was jet black, and they disliked her even more than they did my mother.

Lizzie, to get to her storeroom, had to cross the furnace-room where the owls usually were, and she soon began to complain bitterly of them.

“Dey watch me,” she said indignantly, “dey fly on my head, dey scratch me, an’ pull out my hairpins, an’ make my head sore.”

Why don’t you push them off, Lizzie?” I asked, “they are only tiny things.”

“Dey won’t go—dey hold on an’ beat me,” she replied, and soon the poor girl had to arm herself with a switch when she went near them.

Lizzie was a descendant of the veritable Acadians mentioned in Longfellow’s “Evangeline,” of whom there are several thousand in Nova Scotia. My mother was attached to her, and at last she said, “I will not have Lizzie worried. Bring the owls up in my bathroom.”

There they seemed perfectly happy, sitting watching the sparrows from the window and teasing my long-suffering mother, who was obliged to give up using gas in this bathroom, for very often the owls put it out by flying at it.

(27)

One never heard them coming. I did not before this realize how noiseless the flight of an owl is. One did not dream they were near till there was a breath of air fanning one’s cheek. After we gave up the gas, for fear they would burn themselves, we decided to use a candle. It was absolutely necessary to have an unshaded light, for they would perch on any globe shading a flame, and would burn their feet.

The candle was more fun for them than the gas, for it had a smaller flame, and was more easily extinguished, and usually on entering the room, away would go the light, and we would hear in the corner a laughing voice, saying “Too, who, who, who, who!”

The best joke of all for the owls was to put out the candle when one was taking a bath, and I must say I heard considerable grumbling from the family on the subject. It seemed impossible to shade the light from them, and to find one’s self in the dark in the midst of a good splash, to have to emerge from the tub, dripping and cross, and search for matches, was certainly not calculated to add to one’s affection for Solomon and Betsy. However, they were members of the family, and as George Eliot says, “The members of your family are like the nose on your face—you have got to put up with it, seeing you can’t get rid of it.”

Alas! the time soon came when we had to lament the death of one of our troublesome but beloved pets.

Betsy one day partook heartily of a raw fish head,(28) and in spite of remedies applied, sickened rapidly and sank into a dying condition.

I was surprised to find what a hold the little thing had taken on my affection. When her soft, gray body became cold, I held her in my hand close to the fire and, with tears in my eyes, wished for a miracle to restore her to health.

She lay quietly until just before she died. Then she opened her eyes and I called to the other members of the family to come and see their strange expression. They became luminous and beautiful, and dilated in a peculiar way. We hear of the eyes of dying persons lighting up wonderfully, and this strange illumination of little Betsy’s eyes reminded me of such cases.

Even after death she lay with those wide-open eyes, and feeling that I had lost a friend, I put down her little dead body. It was impossible for me to conceal my emotion, and my mother, who had quite forgotten Betsy’s hostility to her, generously took the little feathered creature to a taxidermist.

I may say that Betsy was the first and last bird I shall ever have stuffed. I dare say the man did the work as well as it could be done, but I gazed in dismay at my Betsy when she came home. That stiff little creature sitting on a stick, with glazed eyes and motionless body, could not be the pretty little bird whose every motion was grace. Ever since the day of Betsy’s death, I can feel no admiration for a dead bird. Indeed, I turn sometimes with a shudder(29) from the agonized postures, the horrible eyes of birds in my sister women’s hats—and yet I used to wear them myself. My present conviction shows what education will do. If you like and study live birds, you won’t want to wear dead ones.

After Betsy’s death Solomon seemed so lonely that I resolved to buy him a companion. I chose a robin, and bought him for two dollars from a woman who kept a small shop. A naturalist friend warned me that I would have trouble, but I said remonstratingly, “My owl is not like other owls. He has been brought up like a baby. He does not know that his ancestors killed little birds.”

Alas! When my robin had got beautifully tame, when he would hop about after me, and put his pretty head on one side while I dug in the earth for worms for him, when he was apparently on the best of terms with Sollie, I came home one day to a dreadful discovery. Sollie was flying about with the robin’s body firmly clutched in one claw. He had killed and partly eaten him. I caught him, took the robin away from him, and upbraided him severely.

“Too, who, who, who who,” he said—apologetically, it seemed to me, “instinct was too strong for me. I got tired of playing with him, and thought I would see what he tasted like.”

I could not say too much to him. What about the innocent lambs and calves, of which Sollie’s owners had partaken?

(30)

I had a fine large place in the basement for keeping pets, with an earth floor, and a number of windows, and I did not propose to have Sollie murder all the birds I might acquire. So, one end of this room was wired off for him. He had a window in this cage overlooking the garden, and it was large enough for me to go in and walk about, while talking to him. He seemed happy enough there, and while gazing into the garden or watching the rabbits, guineapigs, and other pets in the large part of the room, often indulged in long, contented spells of cooing—not hooting.

In 1902 I was obliged to leave him for a six months’ trip to Europe. He was much petted by my sister, and I think spent most of his time upstairs with the family. When I returned home I brought, among other birds, a handsome Brazil cardinal. I stood admiring him as he stepped out of his traveling cage and flew around the aviary. Unfortunately, instead of choosing a perch, he flattened himself against the wire netting in Sollie’s corner.

I was looking right at him and the owl, and I never saw anything but lightning equal the celerity of Sollie’s flight, as he precipitated himself against the netting and caught at my cardinal’s showy red crest. The cardinal screamed like a baby, and I ran to release him, marveling that the owl could so insinuate his little claws through the fine mesh of the wire. However, he could do it, and he gripped the struggling cardinal by the long, hair-like(31) topknot, until I uncurled the wicked little claws. A bunch of red feathers fell to the ground, and the dismayed cardinal flew into a corner.

“Sollie,” I said, going into his cage and taking him in my hand, “how could you be so cruel to that new bird?”

“Oh, coo, coo, coo, coo,” he replied in a delightfully soft little voice, and gently resting his naughty little beak against my face. “You had better come upstairs,” I said, “I am afraid to leave you down here with that poor cardinal. You will be catching him again.”

He cooed once more. This just suited him, and he spent the rest of his life in regions above. I knew that he would probably not live as long in captivity as he would have done if his lot had been cast in the California foothills. His life was too unnatural. In their native state, owls eat their prey whole, and after a time disgorge pellets of bones, feathers, hairs, and scales, the remnants of food that cannot be digested.

My owls, on account of their upbringing, wanted their food cleaned for them. Betsy, one day, after much persuasion, swallowed a mouse to oblige me, but she was such a dismal picture as she sat for a long time with the tail hanging out of her beak that I never offered her another.

I tried to keep Solomon in condition by giving him, or forcing him to take, foreign substances, but my plan only worked for a time.

(32)

I always dreaded the inevitable, and one winter day in 1903 I looked sharply at him, as he called to me when I entered the house after being away for a few hours. “That bird is ill!” I said.

No other member of the family saw any change in him, but when one keeps birds and becomes familiar with the appearance of each one, they all have different facial and bodily expressions, and one becomes extremely susceptible to the slightest change. As I examined Sollie, my heart sank within me, and I began to inquire what he had been eating. He had partaken freely of boiled egg, meat, and charcoal. I gave him a dose of olive oil, and I must say that the best bird or beast to take medicine is an owl. Neither he nor Betsy ever objected in the l

anond:20240611003300

peace and quietness of the night after the turmoil of the day, were hooting persistently and melodiously.

“The landlady and the boarders,” gasped my sister; “they will hear and wake up. Can’t you stop the little wretches?”

I sprang out of bed, and addressed a solemn remonstrance to Solomon and Betsy. They were exceedingly glad to see me, and distending their little throats, continued to hoot, their clear, sweet young voices carrying only too well on the still Californian night air.

Then the chipmunk woke up and began to slide up and down an inclined piece of wood in his part of the cage. We were in despair. We could not sleep, until I had the happy thought of giving the owls a bath. I seized Betsy, held her in a basin of water, and wet her feathers considerably. Then I served Solomon in the same way, and for the rest of the night the tiny little things occupied themselves in smoothing their wet plumage. The chipmunk quieted down, and we had peace.

(19)

When we got into the cottage I had a carpenter build a small aviary at the back of it, with a box for rainy weather. The nights were not too cold for my hardy birds. Indeed, they were not too cold for many semi-tropical ones. I found a bird fancier not far from me, who had built a good-sized, open-air aviary, where he kept canaries and foreign finches all the year round, with only a partly open, glass shelter for the birds to use when it rained.

My sparrowhawk did not seem unhappy in my aviary, but he never had the contented, comfortable expression that the owls had. His apathy was pathetic, and the expression of his beautiful, cruel eyes was an unsatisfied one. In time, I should have allowed him to go, but suddenly he fell ill. I think I overfed him, for I got him into the habit of taking a late supper, always leaning out the window and handing him a piece of meat on the end of a stick before I went to bed.

I brought him into the warm kitchen, where he moped about for a few days. Just before he died he came hopping toward the parlor, where I sat entertaining a friend. I often took him in there on the broad windowsill and talked to him as I sat sewing.

He stood in the doorway, gave me a peculiar look, as if to say, “I would come in if you were alone,” hopped back to the kitchen, and in a short time was no more.

My sister and I mourned sincerely for our pretty bird, and I had the uncomfortable feeling that I(20) might have done better if I had left him in his own habitat—but then he might have starved to death if his parents had not found him. Would death by starvation have been any more painful than his death with me? Possibly some larger creature might have killed him swiftly and mercifully—it was a puzzling case, and I resolved to give up worrying about it. I had done what I considered was best, and I tried to console myself for his death in petting the dear little owls that had become so tame that they called to my sister and me whenever they saw us, and loved to have us take them in our hands and caress them.

About them I had no misgivings. They would certainly have died if I had not adopted them, and there was no question about their happiness. They were satisfied with a state of captivity. They had so far lost one of their owl habits, for they kept awake nearly all day, and slept nearly all night—and they could see quite well in the most brilliant Californian sunlight, and that is pretty brilliant. A cat or a dog many yards distant would cause them to raise excitedly the queer little ear tufts that play so prominent a part in the facial expression of some owls, and they would crack their beaks together and hiss angrily if the enemy came too near.

Cats and dogs frightened them, and a broom merely excited them. When strangers wanted to see the elevation of these tufts, a broom, swiftly passed over the floor, would cause Solomon and(21) Betsy to become very wide awake, with feather tufts straight up in the air. I never saw them abjectly and horribly frightened but once. A lady had brought her handsome parrot into the room where the owls were. The poor little mites put up their ear tufts, swayed to and fro on their perch, and instead of packing their feathers and becoming thin and elongated in appearance, as they did for cats and dogs, they puffed themselves out, snapped their beaks, and uttered the loudest hissing noise I had ever heard from them.

From their extremity of fear I concluded that their instinct told them this danger was so imminent that they must make themselves as formidable as possible.

The parrot was of course quickly removed, and I took care that they should never again see another one.

2024-06-10

地方独立局のテレビってどれくらい見てる?

京都だけど、KBS京都番組って土曜の朝にやってる「SUNNY TIMEしか見てない。……というか、それくらいしか見るものがない。この番組は、京都ローカル情報番組で、地元商店街ロケしに行ったり、地元イベント取材に行ったりしてて、いかにもローカル感あふれる番組結構好きなんよ。

それ以外だと、通販番組メチャクチャ古いドラマ再放送とか、そんな放送ばっかりだからねえ。

2024-06-05

anond:20240605103135

If all the youth were stealing all the time, the rest of society would have been forced to expend exorbitant amounts of time and resources on protecting their goods

ヘイロータイからの盗みですからスパルタから盗むとするのは無理がありますねぇ(ネッチョリ)

2024-06-03

anond:20240603154229

自尊心遺伝!みたいなこういうのよくあると思うけど、それ含めて弱男はもう遺伝レベルでどうしようもなくない?

https://psych.or.jp/publication/world087/pw09/

> 図1に示すように,自尊心得点の一卵性双生児の相関は二卵性の2倍高く,自尊心には,顕著な遺伝の影響があることがわかる。

推定された遺伝率は,Time 1が43パーセントTime 2が51パーセント,残りはどちらも非共有環境の影響であり,ふたりが共有する家庭環境の影響はみられなかった。

アメリカフィンランドドイツ双生児研究でも,青年期以降の自尊心の30〜60パーセント遺伝要因,残りは非共有環境要因で説明できることを示しており,一貫した結果であった。

2024-05-31

Moon time……

Moon time……

Moon time……

忘れた

 空を開いて

[Moon time]

 降りるよ

2024-05-30

How do I speak to someone on Qatar Airways??#Call~Now Guide2024

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2024-05-15

I want to display mathematical formulas with SSG, so I'm having trouble using it in conjunction with the KaTeX plugin.


I want to display mathematical formulas in SSG, so I have installed the KaTeX plugin.

In the case of SSG (honkit) that I use, I want to convert the part to a mathematical formula into

Enclose it in $ (dollar mark) and write the contents in so-called TeX.

In fact, the github site also supports math rendering.

I think it's pretty familiar.

I wanted to mention Excel's built-in functions. What are Excel functions?

I use the dollar mark when I want to keep the cell fixed even if it gets copied and pasted.

I want the dollars to remain dollars inside the code block.

Problems/Errors occurring

For example on the markdown source side

```markdown

=\$A\$2

````

I thought I could escape it by adding a backslash, so that's what I did.

In the case of the SSG that I use, when converted to html,

````

\{% math_inline %}A\{% endmath_inline %}2

````

It will become. _| ̄|○

As for the hosting method, I also store the html files in a GIT repository and host them on the `vercel.app` site. Regarding markdown → html, I do it in the local environment instead of using GitHub Actions.

Things I tried myself

I confirmed that if I use full-width instead of half-width for the dollar, it would not be recognized, so I confirmed that it would work.

But this isn't a fundamental solution, is it?

Also, open the html file and use the batch replacement function to replace `{% math_inline %}` and `{% endmath_inline %}` with dollars. It seems that you need some wisdom to selectively replace only the fence code blocks at once.

Do I have no choice but to ask the plugin author?

https://github.com/zimmem/honkit-plugin-katex

Markdown's fence code block is a guy who repeats backticks three times.

In some cases, the only option is to ask the author to ignore the dollar sign conversion.

Don't you have any hands?

The author of the plugin seems to have stopped development a long time ago.

It seems like they won't be able to respond.

Also, in the case of inline math, it says to surround it with two dollars each, and in the case of block math, it says to surround it with two dollars + a new line, which is different from the normal syntax. I'm curious.

However, it will work even if you write it in the md source using normal syntax.

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