Ultra-G-Fest! Official Program Book
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Ultraman Hawaii’
Sex differences in pacing during `Ultraman Hawaii' Beat Knechtle1,2 and Pantelis T. Nikolaidis3 1 Gesundheitszentrum St. Gallen, St. Gallen, Switzerland 2 Institute of Primary Care, University of Zurich, Zurich, Switzerland 3 Exercise Physiology Laboratory, Nikaia, Greece ABSTRACT Background. To date, little is known for pacing in ultra-endurance athletes competing in a non-stop event and in a multi-stage event, and especially, about pacing in a multi-stage event with different disciplines during the stages. Therefore, the aim of the present study was to examine the effect of age, sex and calendar year on triathlon performance and variation of performance by events (i.e., swimming, cycling 1, cycling 2 and running) in `Ultraman Hawaii' held between 1983 and 2015. Methods. Within each sex, participants were grouped in quartiles (i.e., Q1, Q2, Q3 and Q4) with Q1 being the fastest (i.e., lowest overall time) and Q4 the slowest (i.e., highest overall time). To compare performance among events (i.e., swimming, cycling 1, cycling 2 and running), race time in each event was converted in z score and this value was used for further analysis. Results. A between-within subjects ANOVA showed a large sex × event (p D 0:015, η2 D 0:014) and a medium performance group × event interaction (p D 0:001, η2 D 0:012). No main effect of event on performance was observed (p D 0:174, η2 D 0:007). With regard to the sex × event interaction, three female performance groups (i.e., Q2, Q3 and Q4) increased race time from swimming to cycling 1, whereas only one male performance group (Q4) revealed a similar trend. -
Finite Element Earthquake City Simulation
Accelerated Data Analytics and Computing Workshop 7 – ORNL, TN Mar. 25, 2019 Application Enhanced by AI and Transprecision Computing: Finite Element Earthquake City Simulation Kohei Fujita, Takuma Yamaguchi The University of Tokyo 2 Smart cities • Controlling cities based on real-time data for higher efficiency • Computer modeling via high-performance computing is expected as key enabling tool • Disaster resiliency is requirement; however, not established yet Example of highly dense city: Tokyo Station district 3 Fully coupled aboveground/underground earthquake simulation required for resilient smart city 4 Earthquake modeling of smart cities • Unstructured mesh with implicit solvers required for urban earthquake modeling • We have been developing high-performance implicit unstructured finite-element solvers (SC14 & SC15 Gordon Bell Prize Finalist, SC16 best poster) • However, simulation for smart cities requires full coupling in super-fine resolution • Traditional physics-based modeling too costly • Can we combine use of data analytics to solve this problem? SC14, SC15 & SC16 solvers: ground simulation only Fully coupled ground-structure simulation with underground structures 5 Data analytics and equation based modeling • Equation based modeling • Highly precise, but costly • Data analytics • Fast inferencing, but accuracy not as high • Use both methods to complement each other Phenomena Data analytics Equation based modeling 6 Integration of data analytics and equation based modeling • First step: use data generated by equation based -
Title Call # Category
Title Call # Category 2LDK 42429 Thriller 30 seconds of sisterhood 42159 Documentary A 42455 Documentary A2 42620 Documentary Ai to kibo no machi = Town of love & hope 41124 Documentary Akage = Red lion 42424 Action Akahige = Red beard 34501 Drama Akai hashi no shita no nerui mizu = Warm water under bridge 36299 Comedy Akai tenshi = Red angel 45323 Drama Akarui mirai = Bright future 39767 Drama Akibiyori = Late autumn 47240 Akira 31919 Action Ako-Jo danzetsu = Swords of vengeance 42426 Adventure Akumu tantei = Nightmare detective 48023 Alive 46580 Action All about Lily Chou-Chou 39770 Always zoku san-chôme no yûhi 47161 Drama Anazahevun = Another heaven 37895 Crime Ankokugai no bijo = Underworld beauty 37011 Crime Antonio Gaudí 48050 Aragami = Raging god of battle 46563 Fantasy Arakimentari 42885 Documentary Astro boy (6 separate discs) 46711 Fantasy Atarashii kamisama 41105 Comedy Avatar, the last airbender = Jiang shi shen tong 45457 Adventure Bakuretsu toshi = Burst city 42646 Sci-fi Bakushū = Early summer 38189 Drama Bakuto gaijin butai = Sympathy for the underdog 39728 Crime Banshun = Late spring 43631 Drama Barefoot Gen = Hadashi no Gen 31326, 42410 Drama Batoru rowaiaru = Battle royale 39654, 43107 Action Battle of Okinawa 47785 War Bijitâ Q = Visitor Q 35443 Comedy Biruma no tategoto = Burmese harp 44665 War Blind beast 45334 Blind swordsman 44914 Documentary Blind woman's curse = Kaidan nobori ryu 46186 Blood : Last vampire 33560 Blood, Last vampire 33560 Animation Blue seed = Aokushimitama blue seed 41681-41684 Fantasy Blue submarine -
Godzilla Music and Soundtracks
Godzilla music and soundtracks Alternate 1954-1975 01 - Akira Ifukube - Main Title (Godzilla; 1954) 02 - Akira Ifukube - Godzilla Comes Ashore (Godzilla; 1954) 03 - Akira Ifukube - End Title (Godzilla; 1954) 04 - Masaru Sato - Main Title (Godzilla Raids Again; 1955) 05 - Masaru Sato - End Title (Godzilla Raids Again; 1955) 06 - Akira Ifukube - Godzilla Rebirth (King Kong vs Godzilla; 1962) 07 - Akira Ifukube - Fumiko Delivery Plan (King Kong vs Godzilla; 1962) 08 - Akira Ifukube - King Kong Transportation Plan (King Kong vs Godzilla; 1962) 09 - Akira Ifukube - King Kong vs Godzilla (King Kong vs Godzilla; 1962) 10 - Akira Ifukube - Sacred Fountain (Mothra vs Godzilla; 1964) 11 - Akira Ifukube - Godzilla and Nagoya (Mothra vs Godzilla; 1964) 12 - Akira Ifukube - Mothra's Departure (Mothra vs Godzilla; 1964) 13 - Akira Ifukube - Kurobe Valley (Ghidorah, the Three-Headed Monster; 1964) 14 - Akira Ifukube - Birth of King Ghidorah (Ghidorah, the Three-Headed Monster; 1964) 15 - Akira Ifukube - Three Great Monsters Assembled (Ghidorah, the Three-Headed Monster; 1964) 16 - Akira Ifukube - Marsh Washigasawa and Lake Miyojin (Invasion of the Astro-Monsters; 1965) 17 - Akira Ifukube - Godzilla on the Lakebed (Invasion of the Astro-Monsters; 1965) 18 - Akira Ifukube - Saucer Appearance (Invasion of the Astro-Monsters; 1965) 19 - Akira Ifukube - Great Monster War March (Invasion of the Astro-Monsters; 1965) 20 - Masaru Sato - Yacht and Storm with Monster (Ebirah, Horror of the Deep; 1966) 21 - Masaru Sato - Flight (Ebirah, Horror of the Deep; 1966) -
Masked Rider: the First
Presented by Japan Information & Culture Center, Embassy of Japan and The DC Anime Club Masked Rider: The First © 2005 ISHIMORI PRO•TOEI COMPANY, LTD All Rights Reserved. DVD package and design by Tokyo Shock 2007 Thursday April 24 6:30 PM The evil terrorist organization SHOCKER is kidnapping unwilling citizens and turning them into cyborg inhumanoids used to carry out SHOCKER’s nefarious schemes. The only man who can stand in their way is one of SHOCKER’s own inhumanoid agents who cannot forget his humanity- KAMEN RIDER! Kamen Rider: The First is a 2005 film based on the popular comic book and TV series Kamen Rider of the 1970’s. The show and comic still enjoy a large fanbase and legendary status in Japan. With his trademark bug-eyed helmet and black motorcycle, Kamen Rider, rides around Japan acrobatically battling with a colorful cast of villains from the SHOCKER organization. Kamen Rider helped to establish the famous genre of Japanese television and movies known as Tokusatsu. Tokusatsu shows are known for their use of special effects, gigantic monsters, imaginative costumes, and high-flying, fast-paced martial arts fight scenes. Other icons of tokusatsu lore include Ultraman, Godzilla and The Mighty Morphing Power Rangers. Don’t miss this chance to see one of the legends of the genre on the big screen! In Japanese with English Subtitles 90 minutes This event is free and open to the public. Reservations are required. RSVP to [email protected] Seating is limited and granted on a first come, first served basis Japan Information and Culture Center, Embassy of Japan・3 Lafayette Center・1155 21Pst P St NW・ Washington DC 20036・202-238-6949・www.us.emb-japan.go.jp/jicc . -
A Unified Platform for Big Trajectory Data Management and Analytics
UlTraMan: A Unified Platform for Big Trajectory Data Management and Analytics Xin Ding∗;y Lu Chenz Yunjun Gao∗;y Christian S. Jensenz Hujun Bao∗;y ∗State Key Laboratory of CAD&CG, Zhejiang University, Hangzhou, China yCollege of Computer Science, Zhejiang University, Hangzhou, China zDepartment of Computer Science, Aalborg University, Aalborg, Denmark fdingxin@, gaoyj@, [email protected] fluchen, [email protected] ABSTRACT also in real-world applications. As an example, DiDi, the Massive trajectory data is being generated by GPS-equipped largest ride-sharing company in China, utilizes trajectory devices, such as cars and mobile phones, which is used in- data to provide services such as travel time prediction, de- creasingly in transportation, location-based services, and mand forecasting, and carpool scheduling [6]. The explosive urban computing. As a result, a variety of methods have increase in data volumes and the rapid proliferation of new been proposed for trajectory data management and ana- data analysis methods expose three shortcomings of tradi- lytics. However, traditional systems and methods are usu- tional trajectory data management platforms. ally designed for very specific data management or analyt- First, in real-life applications, trajectory data is collected ics needs, which forces users to stitch together heteroge- at a rapid pace. For instance, the Daisy Lab at Aalborg neous systems to analyze trajectory data in an inefficient University currently receives some 100 million points per manner. Targeting the overall data pipeline of big trajec- day from about 40,000 vehicles in Denmark. Consequently, tory data management and analytics, we present a unified traditional centralized systems [13, 23, 35] are or will be platform, termed as UlTraMan. -
Godzilla Un Monstre Et Ses Époques Alain Vézina
Document généré le 28 sept. 2021 14:29 Séquences La revue de cinéma Godzilla Un monstre et ses époques Alain Vézina Le cinéma à la plage Numéro 291, juillet–août 2014 URI : https://id.erudit.org/iderudit/72128ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Vézina, A. (2014). Godzilla : un monstre et ses époques. Séquences, (291), 18–19. Tous droits réservés © La revue Séquences Inc., 2014 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ 18 PANORAMIQUE | ÉTUDE Godzilla Un monstre et ses époques Coïncidant avec le 60e anniversaire de Godzilla, l’adaptation américaine de Gareth Edwards offre l’opportunité de jeter un regard rétrospectif sur l’une des franchises les plus célèbres du cinéma. Héros de 28 films, dont certains sont injustement raillés et relégués dans les bas-fonds de la culture kitsch, Godzilla n’en demeure pas moins un révélateur intéressant des hantises d’une nation marquée par les catastrophes, qu’elles soient attribuables à la fatalité ou à la folie des hommes. -
You're Listening to Imaginary Worlds, a Show About How We Create Them
1 You’re listening to Imaginary Worlds, a show about how we create them and why we suspend our disbelief. I’m Eric Molinsky. When I was a kid, I used to watch something called the Creature Double Feature on Channel 56 every weekend afternoon. They were black and white monster movies from the ‘50s. The funny thing is, I didn’t really like them, but there was nothing else to watch in those days. The ones that used to freak me out the most were the movies about giant insects like “Them.” CLIP: THEM Usually on this show, I delve into genres that mean a lot to me. But I’m equally fascinated by the stuff that other people obsessed over. It adds another layer of mystery for me – like what is the cult following about? And in this case, I’m not talking about giant insects or the 50-foot woman or King Kong. There’s only one monster that matters. CLIP: GODZILLA DS: It was on Ch. 9, which is a local station in NY tri-state area, and my brother had been watching it, as with all things because I looked up to him, I started watching it, and it was like a real living dinosaur, which I also loved because I was 4 by the way who could shoot fire, I’m 43 and my feelings are still strong about this, who shot fire and destroy cities it was the best thing of all time. That’s my friend Dave Serchuck, who’s a journalist in Louisville. -
Filmography of Case Study Films (In Chronological Order of Release)
FILMOGRAPHY OF CASE STUDY FILMS (IN CHRONOLOGICAL ORDER OF RELEASE) Kairo / Pulse 118 mins, col. Released: 2001 (Japan) Director: Kiyoshi Kurosawa Screenplay: Kiyoshi Kurosawa Cinematography: Junichiro Hayashi Editing: Junichi Kikuchi Sound: Makio Ika Original Music: Takefumi Haketa Producers: Ken Inoue, Seiji Okuda, Shun Shimizu, Atsuyuki Shimoda, Yasuyoshi Tokuma, and Hiroshi Yamamoto Main Cast: Haruhiko Kato, Kumiko Aso, Koyuki, Kurume Arisaka, Kenji Mizuhashi, and Masatoshi Matsuyo Production Companies: Daiei Eiga, Hakuhodo, Imagica, and Nippon Television Network Corporation (NTV) Doruzu / Dolls 114 mins, col. Released: 2002 (Japan) Director: Takeshi Kitano Screenplay: Takeshi Kitano Cinematography: Katsumi Yanagijima © The Author(s) 2016 217 A. Dorman, Paradoxical Japaneseness, DOI 10.1057/978-1-137-55160-3 218 FILMOGRAPHY OF CASE STUDY FILMS… Editing: Takeshi Kitano Sound: Senji Horiuchi Original Music: Joe Hisaishi Producers: Masayuki Mori and Takio Yoshida Main Cast: Hidetoshi Nishijima, Miho Kanno, Tatsuya Mihashi, Chieko Matsubara, Tsutomu Takeshige, and Kyoko Fukuda Production Companies: Bandai Visual Company, Offi ce Kitano, Tokyo FM Broadcasting Company, and TV Tokyo Sukiyaki uesutan jango / Sukiyaki Western Django 121 mins, col. Released: 2007 (Japan) Director: Takashi Miike Screenplay: Takashi Miike and Masa Nakamura Cinematography: Toyomichi Kurita Editing: Yasushi Shimamura Sound: Jun Nakamura Original Music: Koji Endo Producers: Nobuyuki Tohya, Masao Owaki, and Toshiaki Nakazawa Main Cast: Hideaki Ito, Yusuke Iseya, Koichi Sato, Kaori Momoi, Teruyuki Kagawa, Yoshino Kimura, Masanobu Ando, Shun Oguri, and Quentin Tarantino Production Companies: A-Team, Dentsu, Geneon Entertainment, Nagoya Broadcasting Network (NBN), Sedic International, Shogakukan, Sony Pictures Entertainment (Japan), Sukiyaki Western Django Film Partners, Toei Company, Tokyu Recreation, and TV Asahi Okuribito / Departures 130 mins, col. -
An Overview of Legal Protection for Fictional Characters: Balancing Public and Private Interests Amanda Schreyer
Cybaris® Volume 6 | Issue 1 Article 3 2015 An Overview of Legal Protection for Fictional Characters: Balancing Public and Private Interests Amanda Schreyer Follow this and additional works at: http://open.mitchellhamline.edu/cybaris Part of the Intellectual Property Law Commons Recommended Citation Schreyer, Amanda (2015) "An Overview of Legal Protection for Fictional Characters: Balancing Public and Private Interests," Cybaris®: Vol. 6: Iss. 1, Article 3. Available at: http://open.mitchellhamline.edu/cybaris/vol6/iss1/3 This Article is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in Cybaris® by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law Schreyer: An Overview of Legal Protection for Fictional Characters: Balanci Published by Mitchell Hamline Open Access, 2015 1 Cybaris®, Vol. 6, Iss. 1 [2015], Art. 3 AN OVERVIEW OF LEGAL PROTECTION FOR FICTIONAL CHARACTERS: BALANCING PUBLIC AND PRIVATE INTERESTS † AMANDA SCHREYER I. Fictional Characters and the Law .............................................. 52! II. Legal Basis for Protecting Characters ...................................... 53! III. Copyright Protection of Characters ........................................ 57! A. Literary Characters Versus Visual Characters ............... 60! B. Component Parts of Characters Can Be Separately Copyrightable ................................................................ -
Karate Fights SUBMIT a PHOTO for the COVER of for Tradition As Olympic Sport Goes Global Pages 8-10
VOLUME 6 NO. 40 JANUARY 10 – JANUARY 16, 2020 FREE SUBMIT STORIES TO: [email protected] FACEBOOK.COM/STRIPESPACIFIC INSIDE INFO WHERE TO FIND TASTY Okinawa Kenpo OKINAWAN FARE IN TOKYO PAGE 12 YOU’LL BE SWEET ON MEIJI CHOCOLATE FACTORY Birthplace PAGE 13 of karate fights SUBMIT A PHOTO FOR THE COVER OF for tradition as Olympic sport goes global Pages 8-10 ‘LIFE-CHANGING’ JOURNEY Got a great shot of mainland Japan, Okinawa, Korea or Zama employee finds success as bodybuilder Guam? If so, submit it STORY AND PHOTOS BY NORIKO KUDO, Hashiguchi later learned the man was a former and maybe it’ll end up US ARMY GARRISON on the front page of all-Japan champion in the sport. “I didn’t believe him at all,” said Hashiguchi. :HOFRPHWRWKH3DFLÀF CAMP ZAMA – Eight years ago, before Kaoru “But at the same time, I thought that if he was seri- Hashiguchi knew anything about posing, flexing or Photo deadline: Jan. 15 ous, it was too good of an opportunity to pass up.” “bulking,” he was just a fitness enthusiast who one Hashiguchi decided to accept the challenge and day went to a well-known gym in Tokyo with the soon began a three-year journey of learning the ins goal of taking his workout to the next level. and outs of bodybuilding. This of course included A trainer at the gym approached Hashiguchi a lot of time training at the gym, but Hashiguchi and told him that, with the proper training, he had also changed his diet completely—everything from the potential to be a competitive bodybuilder. -
October 13 - 19, 2019
OCTOBER 13 - 19, 2019 staradvertiser.com HIP-HOP HISTORY Ahmir “Questlove” Thompson and Tariq “Black Thought” Trotter discuss the origins and impact of iconic hip-hop anthems in the new six-part docuseries Hip Hop: The Songs That Shook America. The series debut takes a look at Kanye West’s “Jesus Walks,” a Christian rap song that challenged religion. Premiering Sunday, Oct. 13, on AMC. Join host, Lyla Berg as she sits down with guests Meet the NEW EPISODE! who share their work on moving our community forward. people SPECIAL GUESTS INCLUDE: and places Rosalyn K.R.D. Concepcion, KiaҊi Loko AlakaҊi Pond Manager, Waikalua Loko IҊa that make 1st & 3rd Kevin P. Henry, Regional Communications Manager, Red Cross of HawaiҊi Hawai‘i Wednesday of the Month, Matt Claybaugh, PhD, President & CEO, Marimed Foundation 6:30 pm | Channel 53 olelo.org special. Greg Tjapkes, Executive Director, Coalition for a Drug-Free Hawaii ON THE COVER | HIP HOP: THE SONGS THAT SHOOK AMERICA Soundtrack of a revolution ‘Hip Hop: The Songs That “Hip-hop was seen as a low-level art form, or BlackLivesMatter movement. Rapper Pharrell Shook America’ airs on AMC not even seen as actual art,” Questlove said. Williams, the song’s co-producer, talked about “People now see there’s value in hip-hop, but I the importance of tracing hip-hop’s history in feel like that’s based on the millions of dollars a teaser for “Hip Hop: The Songs That Shook By Kyla Brewer it’s generated. Like its value is like that of junk America” posted on YouTube this past May.