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Shinjuku (Second Edition)

為了解決Zan zan的問題，作者Mink 這樣論述：

Former special forces soldier and now elite Scout bounty hunter Daniel Legend is leaving the mean streets of Los Angeles for the meaner streets of Shinjuku.In the real world, Tokyo’s most cosmopolitan ward: center of metropolitan power, crossroads of traffic, den of vice. But in Shinjuku, Daniel Leg

end, in search of his missing sister Angela, discovers the unreal city: Shinjuku, the nexus of realities, riddled with underground pathways.In this realm where lowlife crooks and subterranean monsters spill blood alike in the shadows, three rival yakuza leaders hold control over every earthly crime

in a tense triad of greed. Yet for one mobster lord, Shi, no amount of worldly gain is enough to satisfy him--and he plans an unholy scheme to seize control over all existence that merges mystcism with the visionary quantum research that was the legacy of Daniel and Angela’s father! Film and video d

irector Christopher ＂mink＂ Morrison, veteran of Quentin Tarantino and Lawrence Bender’s A Band Apart, is the author of Shinjuku, a story whose urban mix of action and horror is illustrated with raw, propulsive energy by world-famous illustrator Yoshitaka Amano (Final Fantasy, Vampire Hunter D). Ch

ristopher (mink) Morrison is a British American film director, writer, producer and comic book novelist. In 2002 Quentin Tarantino’s A Band Apart Films added him to their roster as a director. Since then he has been directing videos, commercials as well as film & television projects. His love of sho

rt stories has him writing comic books for three different major publishers. Yoshitaka Amano was born in 1952 in Shizuoka, Japan, the youngest child of a WWII veteran who worked in the traditional Japanese lacquer ware arts. Amano went pro in 1967 at the age of 15, as the youngest person to be hired

by legendary anime studio Tatsunoko, where his first job was on the famous anime series Speed Racer. By 17, he had been made the studio’s character concept artist, a new kind of industry position created specifically for him. Well-known anime characters designed by Amano in the 1970s include the ca

st of Gatchaman, also known as Battle of the Planets--of whom superstar comics painter and Gatchaman fan Alex Ross (Kingdom Come) has said, They belong among the pantheon of great characters. In the 1980s, Amano designed the cast of Genesis Climber Mospeada, known to fans around the world as the thi

rd part of the TV series Robotech (Robotech: The New Generation). In 1985 Amano partnered with director Mamoru Oshii (Ghost in the Shell) and Hayao Miyazaki’s early producer Hideo Ogata to create the feature-length The Angel’s Egg, often considered the most personal of Oshii’s anime films. In the 19

80s, Amano began to develop an independent career as one of Japan’s most sought-after character and design illustrators, painting hundreds of science fiction and fantasy magazine book covers. His mysterious, atmospheric style attracted the creators of a new video game concept in 1987 called Final Fa

ntasy, who hired Amano to give a distinctive artistic vision to the game. Amano would go on to design the characters, monsters, weapons, and treasures of the first ten Final Fantasy games, visually influencing a worldwide fan base through the new frontier of video games, as he had earlier done throu

gh the medium of anime. While remaining in high demand as a commercial illustrator, Amano entered the fine arts world beginning in 1989 with his first exhibition of original art in Tokyo, and in 1995 his first outside Japan, at the Biennale d’Orléans in France. In 1997 he made his New York art world

debut with the exhibit Think Like Amano, and the following year worked with the Los Angeles Philharmonic to create the animated concert film 1001 Nights. A fan of US comic books since he discovered Neal Adams in the 1960s, Amano’s New York exhibit led to his first work in American comics, when he w

as asked to create a poster for the 10th anniversary of Sandman, a project that put him in touch with Neil Gaiman, with whom he would collaborate on Sandman: The Dream Hunters; for Marvel, he would create Elektra & Wolverine: The Redeemer with Greg Rucka. Maintaining studios today in Paris and Tokyo

and travelling frequently to international events, in the 21st century Amano continues to take on commissions, while devoting the majority of his working time to personal projects. In 2013, Dark Horse Comics, which has released over 40 books illustrated by Amano, was the first in the world to publi

sh Yoshitaka Amano’s debut original novel, Deva Zan, containing dozens of accompanying paintings. Dark Horse is proud to honor the continuing legacy of one of the world’s most influential Japanese artists through its upcoming English edition of Florent Gorges’s Yoshitaka Amano: Beyond the Fantasy--T

he Illustrated Biography.

Zan zan進入發燒排行的影片

運用於複本鑑定之可識別QR碼

為了解決Zan zan的問題，作者劉韋辰 這樣論述：

本論文提出一個運用於複本認證之可識別QR碼(Discernible QR Code)技術，除了編碼標準QR Code的文字訊息，還承載一個複本識別碼(Copy Identification Number，簡稱 CIN)。使用者可透過一般的QR Code解碼器讀取一個可識別QR Code的標準文字訊息，而透過所提的解碼器可以取出可識別QR Code的CIN，用以鑑別複本持有者。我們透過調整一個黑色正方形區塊的長寬比例實驗，找出人眼視為正方形黑色區塊的邊長最大容忍差異，稱作正方形的邊長差異可察覺性(Just-Noticeable Side Difference)，作為CIN的設計基礎。透過些微調

整某些黑色模組之長寬比例，將CIN編碼到QR Code中，來產生具相同文字訊息但不同CIN的N個可識別QR Code。這N個可識別QR Code所有的模組值都一樣，可透過標準QR Code應用程式讀取出相同的訊息。由於所有模組區塊的長寬比例都在正方形邊長差異可察覺性內，因此使用者不易從QR Code外觀察覺異樣。而透過所設計的CIN解碼演算法，則可取出QR Code的CIN編號，作為QR Code複本的認證依據。本論文使用不同手機鏡頭解析度的手機App進行可識別QR Code的解碼，透過實驗建議掃描可識別QR Code的合適解碼距離。同時也實驗了可識別QR Code在紙本和螢幕上的解碼效果，及

可識別QR Code的解碼穩健性。

Elegant Spirits: Amano’’s Tale of Genji and Fairies

為了解決Zan zan的問題，作者Amano, Yoshitaka 這樣論述：

Yoshitaka Amano was born in 1952 in Shizuoka, Japan, the youngest child of a WWII veteran who worked in the traditional Japanese lacquer ware arts. Amano went pro in 1967 at the age of 15, as the youngest person to be hired by legendary anime studio Tatsunoko, where his first job was on the famous a

nime series Speed Racer. By 17, he had been made the studio’s character concept artist, a new kind of industry position created specifically for him.Well-known anime characters designed by Amano in the 1970s include the cast of Gatchaman, also known as Battle of the Planets--of whom superstar comics

painter and Gatchaman fan Alex Ross (Kingdom Come) has said, They belong among the pantheon of great characters. In the 1980s, Amano designed the cast of Genesis Climber Mospeada, known to fans around the world as the third part of the TV series Robotech (Robotech: The New Generation). In 1985 Aman

o partnered with director Mamoru Oshii (Ghost in the Shell) and Hayao Miyazaki’s early producer Hideo Ogata to create the feature-length The Angel’s Egg, often considered the most personal of Oshii’s anime films.In the 1980s, Amano began to develop an independent career as one of Japan’s most sought

-after character and design illustrators, painting hundreds of science fiction and fantasy magazine book covers. His mysterious, atmospheric style attracted the creators of a new video game concept in 1987 called Final Fantasy, who hired Amano to give a distinctive artistic vision to the game. Amano

would go on to design the characters, monsters, weapons, and treasures of the first ten Final Fantasy games, visually influencing a worldwide fan base through the new frontier of video games, as he had earlier done through the medium of anime.While remaining in high demand as a commercial illustrat

or, Amano entered the fine arts world beginning in 1989 with his first exhibition of original art in Tokyo, and in 1995 his first outside Japan, at the Biennale d’Orléans in France. In 1997 he made his New York art world debut with the exhibit Think Like Amano, and the following year worked with the

Los Angeles Philharmonic to create the animated concert film 1001 Nights. A fan of US comic books since he discovered Neal Adams in the 1960s, Amano’s New York exhibit led to his first work in American comics, when he was asked to create a poster for the 10th anniversary of Sandman, a project that

put him in touch with Neil Gaiman, with whom he would collaborate on Sandman: The Dream Hunters; for Marvel, he would create Elektra & Wolverine: The Redeemer with Greg Rucka.Maintaining studios today in Paris and Tokyo and travelling frequently to international events, in the 21st century Amano con

tinues to take on commissions, while devoting the majority of his working time to personal projects. In 2013, Dark Horse Comics, which has released over 40 books illustrated by Amano, was the first in the world to publish Yoshitaka Amano’s debut original novel, Deva Zan, containing dozens of accompa

nying paintings. Dark Horse is proud to honor the continuing legacy of one of the world’s most influential Japanese artists through its English edition of Florent Gorges’s Yoshitaka Amano: Beyond the Fantasy--The Illustrated Biography.

評估臺北市類點源（餐飲攤販）污染對基隆河水質之影響

為了解決Zan zan的問題，作者林宇擇 這樣論述：

本研究選定調查都市較容易出現的鄰街餐飲為調查對象，採取人工實地訪查及運用WASP（Water Quality Analysis Simulation Program）水質模式，科學化的評估餐飲污水對基隆河水質之影響。　　總計調查11家夜市攤販總計826家，人工調查內容著重於污水量用水方式、污水量及攤販類型等調查。用水方式分為連續式及批次式及收攤後清洗三種用水量，連續式採用實際水費單污水量為0.75m3/day，批次式採用15公升水桶兩桶及收攤後清洗合併污水量為0.59m3/day，調查內之總污水量為369.9CMD，污水水質平均濃度BOD：3,744mg/L，NH3-N：6.59mg/L，單

位攤販負荷量為BOD：1,323g/day，NH3-N：3g/day。　　水質模式設定以南湖大橋為上游邊界直至下游邊界百齡橋，邊界流量採比面積法以上游五堵流量站乘以1.49倍做為流量依據。另基隆河總計22個排水分區之抽水站及一座污水處理廠的點源污染排放，扣除污水處理廠不計，模擬結果得出餐飲污水類點源負荷量BOD：617.7kg/day，氨氮僅有1.9kg/day，分別占基隆河污染的8.6%及0.1%。　　餐飲類點源來源較為複雜，且有許多無證攤商為隱形污染源，調查相對不容易，結果顯示BOD透過持續上升的接管率可以得到改善，氨氮尚有近40%的污染源尚未釐清，結論餐飲污水類點源有較高的BOD，對氨氮

的減少較不顯著。