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Pcapac2018 — Proceedings at a Glance
12th Int. Workshop on Emerging Technologies and Scientific Facilities Controls PCaPAC2018, Hsinchu, Taiwan JACoW Publishing ISBN: 978-3-95450-200-4 doi:10.18429/JACoW-PCaPAC2018-WEC1 THE DO’s AND DON’Ts IN PROCESS CONTROLS LESSONS LEARNED OVER 35 YEARS M. Clausen, T. Boeckmann, J. Hatje, O. Korth, M. Moeller, J. Penning, H. Rickens, B. Schoeneburg , Deutsches Elektronen Synchrotron DESY, 21220 Hamburg, Germany Abstract PLCs for Machine Interlocks Designing, implementing and maintaining process con- A very prominent usage for PLCs is the area of hard- trol systems for cryogenic plants requires different view- ware interlocks. In former times this kind of hardware points compared with those in machine controls. 24/7 protection was implemented in hard wired logic. This operations for more than a year is a basic requirement. logic slowly moved into intelligent controllers and finally Hardware and software must be designed to fulfil this into PLCs. These interlocks are well defined. They are requirement. Many projects are carried out with industrial thoroughly tested and should not be altered. Implement- partners. Companies specify the process control logic ing this logic in a PLC is a no-brainer and used basically which gets implemented by the local DESY team. Re- for every system in place. sponsibilities, time tables and milestones must be clearly defined in such a case. Several cryogenic installations PLCs as Data Concentrator have been equipped with state of the art process control The next occasion where PLCs find their way into con- systems for cryogenic controls. Where the last one being trol systems is the usage as a data concentrator. -
NVIDIA Success Story |
CASE STUDY | SQUARE ENIX CO., LTD. BRINGING AGILITY TO THE GAMING INDUSTRY Revolutionizing Game Development with NVIDIA Virtual GPUs VIRTUAL GPUs (vGPUs) DELIVER THE HIGH-DEFINITION GRAPHICS PROCESSING REQUIRED FOR GAME DEVELOPMENT. AT A GLANCE SQUARE ENIX’s corporate philosophy is to “Provide superb User Profile ‘stories,’ bringing happiness to people around the world.” The Company name: Square Enix Co., Ltd. company aims to create high-quality content and services that Industry: Gaming deliver the finest entertainment to customers. To that end, Location: Japan, Global they’ve focused on the innovation and creativity of employees Established: October 1, 2008 and have been developing a collaborative and competitive Head office: Shinjuku Eastside Square corporate culture. The company seeks to anticipate changes in the 6-27-30 Shinjuku, Shinjuku-ku, Tokyo, environment so they can respond flexibly and sensitively. As part 160-8430 Japan of this effort, the Service Desk Group in the Information Systems Representative Director: Yosuke Matsuda Division, which provides SQUARE ENIX’s IT infrastructure and development environment, has been promoting the construction Capital: 1.5 billion yen (as of March 31, 2019) of GPU-accelerated virtual desktop infrastructure (VDI) since 2018 to create a virtualization platform that can accommodate Overview approximately 2,000 users. Square Enix Co., Ltd., is a leading provider continuously releasing creative CHALLENGE and innovative content and services in the entertainment field. Major SQUARE ENIX created a location-agnostic development works include the Dragon Quest series environment for game development. (cumulative shipments and downloads of more than 82 million), the Final Fantasy To deliver high-quality gaming entertainment, creative series (more than 154 million), the Tomb Raider series (more than 78 million), and professionals, such as programmers, designers, producers, and the Space Invaders series. -
A Message from the Final Fantasy Vii Remake
FOR IMMEDIATE RELEASE A MESSAGE FROM THE FINAL FANTASY VII REMAKE DEVELOPMENT TEAM LONDON (14th January 2020) – Square Enix Ltd., announced today that the global release date for FINAL FANTASY® VII REMAKE will be 10 April 2020. Below is a message from the development team: “We know that so many of you are looking forward to the release of FINAL FANTASY VII REMAKE and have been waiting patiently to experience what we have been working on. In order to ensure we deliver a game that is in-line with our vision, and the quality that our fans who have been waiting for deserve, we have decided to move the release date to 10th April 2020. We are making this tough decision in order to give ourselves a few extra weeks to apply final polish to the game and to deliver you with the best possible experience. I, on behalf of the whole team, want to apologize to everyone, as I know this means waiting for the game just a little bit longer. Thank you for your patience and continued support. - Yoshinori Kitase, Producer of FINAL FANTASY VII REMAKE” FINAL FANTASY VII REMAKE will be available for the PlayStation®4 system from 10th April 2020. For more information, visit: www.ffvii-remake.com Related Links: Facebook: https://www.facebook.com/finalfantasyvii Twitter: https://twitter.com/finalfantasyvii Instagram: https://www.instagram.com/finalfantasyvii/ YouTube: https://www.youtube.com/finalfantasy #FinalFantasy #FF7R About Square Enix Ltd. Square Enix Ltd. develops, publishes, distributes and licenses SQUARE ENIX®, EIDOS® and TAITO® branded entertainment content in Europe and other PAL territories as part of the Square Enix group of companies. -
Organizing Books and Did This Process, I Discovered That Two of Them Had a Really Yucky Feeling to Them
Jennifer Hofmann Inspired Home Office © 2014 This graphic is intentionally small to save your printer ink.:) 1 Inspired Home Office: The Book First edition Copyright 2014 Jennifer E. Hofmann, Inspired Home Office All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recorded, or otherwise without written permission by the author. This publication contains the opinion and ideas of the author. It is intended to provide helpful and informative material on the subject matter covered, and is offered with the understanding that the author is not engaged in rendering professional services in this publication. If the reader requires legal, financial or other professional assistance or advice, a qualified professional should be consulted. No liability is assumed with respect to the use of the information contained herein. Although every precaution has been taken to produce a high quality, informative, and helpful book, the author makes no representation or warranties of any kind with regard to the completeness or accuracy of the contents of the book. The author specifically disclaims any responsibility for any liability, loss or risk, personal or otherwise, which is incurred as a consequence, directly or indirectly, from the use and application of any of the contents of this publication. Jennifer Hofmann Inspired Home Office 3705 Quinaby Rd NE Salem, OR 97303 www.inspiredhomeoffice.com 2 Table of Contents Introduction.................................................................................................................. -
Deutsche Nationalbibliografie 2018 a 24
Deutsche Nationalbibliografie Reihe A Monografien und Periodika des Verlagsbuchhandels Wöchentliches Verzeichnis Jahrgang: 2018 A 24 Stand: 13. Juni 2018 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2018 ISSN 1869-3946 urn:nbn:de:101-20171117742 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. In Reihe A werden Medienwerke, die im Verlagsbuch- chende Menüfunktion möglich. Die Bände eines mehrbän- handel erscheinen, angezeigt. Auch außerhalb des Ver- digen Werkes werden, sofern sie eine eigene Sachgrup- lagsbuchhandels erschienene Medienwerke werden an- pe haben, innerhalb der eigenen Sachgruppe aufgeführt, gezeigt, wenn sie von gewerbsmäßigen Verlagen vertrie- ansonsten -
2019 Annual Report
2019 Corporate Philosophy To spread happiness across the globe by providing unforgettable experiences This philosophy represents our company’s mission and the beliefs for which we stand. Each of our customers has his or her own definition of happiness. The Square Enix Group provides high-quality content, services, and products to help those customers create their own wonderful, unforget- table experiences, thereby allowing them to discover a happiness all their own. Management Guidelines In working to make our Corporate Philosophy a reality, we will manage our Group with the following policies as our key guidelines. 1. We will strive to be a company that delivers unparalleled entertainment. Through our games, amusement offerings, publications, merchandising, and other contents and services, we will be steadfast in our efforts to deliver unpar- alleled entertainment to our customers. 2. We will value innovation and creativity. By giving rise to new expressions and ideas and creating experiences like none ever encountered before, we will deliver contents and services that surpass the expectations of our customers. We believe that it is in our unrelenting efforts to this end that our existential value and the value of our brand lie. 3. We will respond with sensitivity and flexibility to environmental changes. We are surrounded by an environment that is ever changing. We will stay attuned to those changes and be flexible in adapting the nature and format of our contents and services as well as our business models accordingly. In addition, we will stay at the forefront of change so that we can provide our customers with excitement and fun. -
Disruptive Innovation and Internationalization Strategies: the Case of the Videogame Industry Par Shoma Patnaik
HEC MONTRÉAL Disruptive Innovation and Internationalization Strategies: The Case of the Videogame Industry par Shoma Patnaik Sciences de la gestion (Option International Business) Mémoire présenté en vue de l’obtention du grade de maîtrise ès sciences en gestion (M. Sc.) Décembre 2017 © Shoma Patnaik, 2017 Résumé Ce mémoire a pour objectif une analyse des deux tendances très pertinentes dans le milieu du commerce d'aujourd'hui – l'innovation de rupture et l'internationalisation. L'innovation de rupture (en anglais, « disruptive innovation ») est particulièrement devenue un mot à la mode. Cependant, cela n'est pas assez étudié dans la recherche académique, surtout dans le contexte des affaires internationales. De plus, la théorie de l'innovation de rupture est fréquemment incomprise et mal-appliquée. Ce mémoire vise donc à combler ces lacunes, non seulement en examinant en détail la théorie de l'innovation de rupture, ses antécédents théoriques et ses liens avec l'internationalisation, mais en outre, en situant l'étude dans l'industrie des jeux vidéo, il découvre de nouvelles tendances industrielles et pratiques en examinant le mouvement ascendant des jeux mobiles et jeux en lignes. Le mémoire commence par un dessein des liens entre l'innovation de rupture et l'internationalisation, sur le fondement que la recherche de nouveaux débouchés est un élément critique dans la théorie de l'innovation de rupture. En formulant des propositions tirées de la littérature académique, je postule que les entreprises « disruptives » auront une vitesse d'internationalisation plus élevée que celle des entreprises traditionnelles. De plus, elles auront plus de facilité à franchir l'obstacle de la distance entre des marchés et pénétreront dans des domaines inconnus et inexploités. -
For Immediate Release Groove Coaster Zero Teams up With
FOR IMMEDIATE RELEASE GROOVE COASTER ZERO TEAMS UP WITH PUZZLE & DRAGONS Special Crossover Event Begins August 12 TOKYO (August 9, 2013) – TAITO Corporation (TAITO®), a wholly-owned subsidiary of Square Enix Holdings Co., Ltd., and GungHo Online Entertainment, Inc., today announced a special collaboration between TAITO’s iPhone®, iPod touch®, and iPad® rhythm game GROOVE COASTER® ZERO and GungHo’s puzzle RPG app PUZZLE & DRAGONS. From Monday, August 12 through Sunday, August 25, GROOVE COASTER ZERO-themed event dungeons and characters from SPACE INVADERS® will be appearing in PUZZLE & DRAGONS. During the same period, levels featuring original and remixed PUZZLE & DRAGONS background music will also be available for play in GROOVE COASTER ZERO. GROOVE COASTER ZERO DUNGEONS Featured in PUZZLE & DRAGONS! As part of the crossover event, GROOVE COASTER ZERO-themed dungeons will be available for play in PUZZLE & DRAGONS. These event dungeons are designed as “Technical Dungeons,” enabling enemies to use special skills to fight back against players in addition to their standard attacks. Four different difficulty settings are presented, guaranteeing an experience suitable for everyone from beginners to PUZZLE & DRAGONS experts. The characters of SPACE INVADERS—including standard and evolved versions of the OCTOPUS, CRAB, SQUID, UFO—and the GROOVE COASTER ZERO icon’s GC CRAB will also be appearing in the event dungeons, providing nostalgic pixel monsters for players to defeat. PUZZLE & DRAGONS Tracks Appear in GROOVE COASTER ZERO, Remixed by ZUNTATA! Original and remixed versions of PUZZLE & DRAGON’s in-game background music will also appear in new playable tracks for GROOVE COASTER ZERO. A new version of composer Kenji Ito’s “Departure,” specially remixed by TAITO sound team ZUNTATA member COSIO, will be available to play free of charge until the end of the crossover event. -
SPRING 2017 Raquel Bernal, Marcela Eslava, Julian Messina, Alexander Mouge-Naranjo, Ugo Panizza, and Sergio Urzúa, Editors
SP RI NG 20 17 BIP_Sping 2017 Catalog_Cover I.indd 1 9/25/16 6:49 PM Customer Service Contents Call 1-800-343-4499 Brookings Institution Press Rights and Permissions Short History Series 6 Brookings Classics 8 Contact Kristen Harrison at 202-536-3604 or e-mail permissions@ brookings.edu Geopolitics in the 21st Century 10 Marshall Papers 16 Book Proposal Submissions Brookings Bestsellers 30 Brookings Essays 33 Contact Bill Finan at 202-536-3637 or e-mail [email protected] Journals 34 Publicity and Marketing Queries Partner Presses To request review copies or press material, or for other marketing-re- Asian Development Bank Institute 37 lated questions, call 202-536-3611 or e-mail [email protected] Center for Economic and Policy Research 40 Center for Transatlantic Relations at JHU SAIS 41 The Brookings Institution is a private nonprofit organization devoted to Institute of Latin American Studies 42 research, education, and publication on important issues of domestic Organisation for Economic Co-operation and foreign policy. Its principal purpose is to bring the highest quality independent research and analysis to bear on current and emerging and Development 44 policy problems and to offer practical approaches to those problems Verlag Bertelsmann Stiftung 45 in language aimed at the general public. World Trade Organization 47 In its conferences, publications, and other activities, Brookings serves Index 52 as a bridge between scholarship and policymaking, bringing new Sales Information xx knowledge to the attention of decision-makers and affording scholars greater insight into public policy issues. The Institution’s activities are carried out through five core research programs (Economic Studies, Foreign Policy, Governance Studies, Metropolitan Policy, and Global Economy and Development), as well as through the Brookings Institu- tion Press, which publishes about forty books a year. -
Square Enix Essay
BTEC Extended Diploma in Creative Media Production Unit 7: Understanding the Creative Media Sector The media sector is a large part of digital entertainment, including television, music, advertisements video games and films. Here I will be talking about a company which is well-known in the gaming industry. Square and Enix were originally separate companies but then there was horizontal integration, merging them together in April 1, 2003. The founder of Enix, Yasuhiro Fukushima is the chairman and shareholder of this corporation. Majority of the current company’s employees were previously working for Square, which wasn’t as successful as Enix. Other key members are Yosuke Matsuda, the president and the representative director, where he must report to the board of directors all the time, and Phil Rogers is the CEO for this corporation. Furthermore, both him and Yoichi Wada are the heads of Square Enix Europe. They vertically integrated for a larger audience and that’s how their products increased, improving the market and quality in merchandise. The structure that this company has is the same as others; with Board of Directors, Corporate Auditors, committees etc. The purpose of the directors is to engage in discussions and opinions, enabling them to see what their target audience needs. The reason why board of directors are needed is to handle the performance of Square Enix, as well as being responsible for their government expenditures (the number of money spent). They look at their audience’s stats (profiles) to compare with their competitors and the revenue that they gain throughout the years. -
HITMAN GO (For Oculus/Gear VR) ・Kai‐Ri‐Sei Million Arthur Coming May 12, 2016
1 Statements made in this document with respect to SQUARE ENIX HOLDINGS CO., LTD. and its consolidated subsidiaries' (together, “SQUARE ENIX GROUP") plans, estimates, strategies and beliefs are forward‐looking statements about the future performance of SQUARE ENIX GROUP. These statements are based on management's assumptions and beliefs in light of information available to it at the time these material were drafted and, therefore, the reader should not place undue reliance on them. Also, the reader should not assume that statements made in this document will remain accurate or operative at a later time. A number of factors could cause actual results to be materially different from and worse than those discussed in forward‐looking statements. Such factors include, but not limited to: 1. changes in economic conditions affecting our operations; 2. fluctuations in currency exchange rates, particularly with respect to the value of the Japanese yen, the U.S. dollar and the Euro; 3. SQUARE ENIX GROUP’s ability to continue to win acceptance of our products and services, which are offered in highly competitive markets characterized by the continuous introduction of new products and services, rapid developments in technology, and subjective and changing consumer preferences; 4. SQUARE ENIX GROUP’s ability to expand international success with a focus on our businesses; and 5. regulatory developments and changes and our ability to respond and adapt to those changes. The forward‐looking statements regarding earnings contained in these materials were valid at the time these materials were drafted. SQUARE ENIX GROUP assumes no obligation to update or revise any forward‐looking statements, including forecasts or projections, whether as a result of new information, subsequent events or otherwise. -
… … Mushi Production
1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Mushi Production (ancien) † / 1961 – 1973 Tezuka Productions / 1968 – Group TAC † / 1968 – 2010 Satelight / 1995 – GoHands / 2008 – 8-Bit / 2008 – Diomédéa / 2005 – Sunrise / 1971 – Deen / 1975 – Studio Kuma / 1977 – Studio Matrix / 2000 – Studio Dub / 1983 – Studio Takuranke / 1987 – Studio Gazelle / 1993 – Bones / 1998 – Kinema Citrus / 2008 – Lay-Duce / 2013 – Manglobe † / 2002 – 2015 Studio Bridge / 2007 – Bandai Namco Pictures / 2015 – Madhouse / 1972 – Triangle Staff † / 1987 – 2000 Studio Palm / 1999 – A.C.G.T. / 2000 – Nomad / 2003 – Studio Chizu / 2011 – MAPPA / 2011 – Studio Uni / 1972 – Tsuchida Pro † / 1976 – 1986 Studio Hibari / 1979 – Larx Entertainment / 2006 – Project No.9 / 2009 – Lerche / 2011 – Studio Fantasia / 1983 – 2016 Chaos Project / 1995 – Studio Comet / 1986 – Nakamura Production / 1974 – Shaft / 1975 – Studio Live / 1976 – Mushi Production (nouveau) / 1977 – A.P.P.P. / 1984 – Imagin / 1992 – Kyoto Animation / 1985 – Animation Do / 2000 – Ordet / 2007 – Mushi production 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Tatsunoko Production / 1962 – Ashi Production >> Production Reed / 1975 – Studio Plum / 1996/97 (?) – Actas / 1998 – I Move (アイムーヴ) / 2000 – Kaname Prod.