クールなボディの強力なパフォーマンス！サムスンRF411ラウンドエンターテイメント

サムスンのノートブックはより多くの優れた品質一方、近年では非常に良好な発展、モデルの富であり、ハードウェア開発で、より堅牢なパフォーマンス、エンターテイメントのモデルのパフォーマンスの側面も非常に顕著である。あなたに紹介する今日Sa??ndyBridge i5のプロセッサとGT540の重要な独立性、最新の価格5899元を運ぶサムスンRF411 - S03ノートブック。

外観、複合材料のこのノートパソコン本体、レーザー、クールな豪華さ、経済的かつ耐久性の一般的な外観と屋根のライン。キーボードを使用してチョコレートの主流の今日で、快適に感じる。ディスプレイは、マシンは明るい14インチLEDバックライトLCD、ディスプレイシャープ、画面牙冀城1.3メガピクセルのカメラ、ユーザーフレンドリーなビデオ通信を装備しています。

コンフィギュレーション、第二世代のインテルCore Duoプロセッサを搭載したサムスンRF411 2.3GHzのクロ??ックでI5 - 2410メートルは、、ターボ、2.9GHzのに2GBメモリのNVIDIA GeForce GT 540Mを搭載したインテルHM65のチップセット、2GBメモリ、640ギガバイトのハードドライブを、最大ブーストグラフィックスカード、オペレーティングシステムがプレインストールのスーパーマルチバーナー、win7の中国語版。

インターフェイスは、内蔵の2つのUSB 2.0ポート、2つのUSB3.0インタフェース、音声入力インタフェースと出力インタフェース、RJ - 45ネットワークインターフェース、カードリーダー、HDMIの高精細インタフェース、VGAビデオ出力インターフェース。ネットワーク、統合された802.11bgn無線LAN、ギガビットイーサネット、Bluetooth 3.0のモジュール。

サムスンRF411主流のノートブックは、サムスンのR -シリーズモデルの汎用性の高い位置、豪華な外観とても愛さ若者のファッションです。 GT540M重要な独立の2Gのメモリを持つ構成SNBi5プロセッサは、性能は友人、仕事と遊びを容易に満たすことができるため、ホームユーザーや学生は非常に適しているため、非常に強いです。

SATA DDR4露頭の帯域幅を倍増

8月24日バブルのネットワークドライブのチャネル、今年は、関係なく、フラッシュメモリやハードディスクの開発のより早いペースである、製品ラインの製品の容量は、速度が突破し続け、ブランドの新製品を立ち上げて、私たちは一緒にそれらを見てみましょうメッセージ。

JEDEC ソリッドステート技術協会（JEDECソリッドステート技術協会）は本日、正式に仕様の一部のDDR4メモリの次世代を発表した、相対的なDDR3メモリ、パフォーマンスが大幅に向上、消費電力も報告された新しいDDR4仕様の大幅な減少となっているが2012年に期待されている第2四半期の正式な立ち上げ。

DDR4メモリは、高速化、サーバ、ノートPC、デスクトップPC、家電製品などを含む広範なアプリケーションを、もたらすことができる革新的な機能の範囲を提供します。新基準の移行と展開を簡素化するために、DDR4メモリの周波数、電圧および構造が再定義されます。

提案されたロードマップ、DDR4メモリ電圧は1.2Vに設定し、将来的にさらにメモリを新鮮に保つためにI / O電圧安定性を増加させることにより電圧を低減する。

DDR4メモリのデフォルトの開始データの転送速度は、最高のリーチは最高3.2Gbps、1.6Gbpsに達する。 1.6GT / sのDDR3メモリが限界であり、今後のDDR4は、おそらくより良いパフォーマンスを提供します。

パフォーマンスの改善が含まれます：DQバス疑似オープンドレインインタフェース、2667MHzと高いデータレート低速モード、銀行グループの構造、VreDQ生成される内部電圧、トレーニングモードでは改善する。

明日の注目材料／三菱マ、ＵＢＩＣ、太平電、スタジオアリスなど

三菱マ、12年3月期第2四半期連結累計期間業績予想の上方修正を発表
9日、三菱マ <5711> は、12年3月期第2四半期連結累計期間業績予想の上方修正を発表した。第2四半期連結累計期間業績予想を、売上高7200億円(前回予想比6.7％ 増)、営業利益260億円(同62.5％増)、経常利益340億円(同70.0％増)、四半期純利益140億円(同180.0％増)に、それぞれ上方修正 した。
ＵＢＩＣ、12年3月期第2四半期連結累計期間業績予想の上方修正を発表
9日、ＵＢＩＣ <2158> は、12年3月期第2四半期連結累計期間業績予想の上方修正を発表した。第2四半期連結累計期間業績予想を、売上高21億円(前回予想比40.0％増)、 営業利益9億3000万円(同200.0％増)、経常利益8億9000万円(同196.7％増)、四半期純利益4億6000万円(前回予想は3000万円 の利益)に、それぞれ上方修正した。
太平電、12年3月期第2四半期連結累計期間業績予想の上方修正を発表
9日、太平電 <1968> は、12年3月期第2四半期連結累計期間業績予想の上方修正を発表した。第2四半期連結累計期間業績予想の売上高は327億5000万円(前回予想比 1.2％減)、営業利益11億9000万円(同54.5％増)、経常利益12億1000万円(同37.5％増)、四半期純利益6億7000万円(同 19.6％増)に、それぞれ上方修正した。
スタジオアリス、11年12月期通期連結業績予想の上方修正を発表
9日、スタジオアリス <2305> は、11年12月期通期連結業績予想の上方修正を発表した。通期連結業績予想を、売上高330億円(前回予想比2.2％増)、営業利益60億5000万円(同23.5％増)、当期純利益24億3000万円(同25.9％増)に、それぞれ上方修正した。
加藤産業、11年9月期通期連結業績予想の上方修正と特別配当実施を発表
9日、加藤産業 <9869> は、11年9月期通期連結業績予想の上方修正と特別配当実施を発表した。通期連結業績予想を、売上高6950億円(前回予想比1.8％増)、営業利益 101億5000万円(同8.9％増)、経常利益110億円(同10.0％増)、当期純利益56億5000万円(同5.6％増)に、それぞれ上方修正し た。また、11年9月期の期末配当予想を、1株当たり18円の普通配当に特別配当2円を加えて20円に修正した。

『うたの☆プリンスさまっ♪』がニコ動で大ブレイク中! 関連動画を一挙紹介

こんにちは。一日3時間をニコニコ動画に費やすダメ社会人、山田井ユウキです。

今日もさっそく最近流行の動画や埋もれている良動画を独断と偏見で皆さんに紹介していこうと思います。選ぶ基準はただ一つ、僕の趣味です!


現在TOKYO MX、そしてニコニコ動画でも放送中のアニメ『うたの☆プリンスさまっ♪』、通称『うたプリ』の人気がものすごいことになっています。

 正直言ってスタートする前はノーチェックだったのですが、始まってみるとこれが面白い!

作画レベルの高さに、個性豊かすぎるキャラクターたち、それでいて斜め上にぶっ飛んだストーリーetc……本作の面白さを説明するとキリがないのでとりあえず放送を見てくださいとしか言えないのですが(大丈夫、途中からでも十分楽しめます)、そんな『うたプリ』でも特にファンに人気のある要素がエンディング曲の「マジLOVE1000％」なのです。

まずは公式配信されている動画をご覧ください。

 エンディング曲といいつつ、第一話冒頭ではこの「マジLOVE1000％」のライブシーンが放映されました。上記の動画はそのライブバージョンとなります。

とにかくキャッチーで癖になるメロディー、豪華声優陣による熱唱、そして絶妙な空耳が合わさった本楽曲はあっという間にニコニコ動画でブレイクを果たし、まだ投稿から1ヶ月も経っていないにも関わらず早くも再生数は165万を突破。かつてないスピードで現在も再生数を伸ばし続けています。

となれば、黙ってはいられないのがニコニコ動画ユーザー。ここからは、この『うたプリ』から派生した動画をご紹介していきましょう。

ProPhotonix Ltd raises cash, targets new LED markets

ProPhotonix Ltd raises cash, targets new LED markets
Although best known for machine-vision products, ProPhotonix Ltd is looking to expand into other markets, such as medical and illumination, after raising cash from the sale of shares.
ProPhotonix Limited, a designer and manufacturer of LED light-engines and laser-diode modules with operations in Ireland and the UK, has raised approximately GBP 3.255 million before expenses from the sale of 23.25 million new shares.

The company said in its press release that the funds would be used to "capitalize on the opportunities available in our chosen markets through the application of our proprietary technology and expertise in relation to LED-based lighting applications and in developing our laser-module business."

Best known as a supplier of light sources for machine vision, ProPhotonix has recently expanded into the medical-equipment and homeland-security markets, and says it intends to develop and market a high-power LED light-engine product line for the industrial illumination market.

COBRA Slim linescan illuminator provides extreme brightness in a slim form-factor and is available in any length up to 5 metres.
FIG. 1. COBRA Slim linescan illuminator
In October 2009, StockerYale, Inc. sold its North American operations, including its specialty-optical-fiber division, to Coherent, and about nine months later StockerYale changed its name to ProPhotonix Limited. Its shares are traded on the AIM (PPIX and PPIR) and OTC (STKR.PK) stock exchanges.

Based in Salem, New Hampshire, the company has two operating subsidiaries, an LED operation in Cork, Ireland and a laser operation in the UK. ProPhotonix Ireland is the company’s center for LED research, design and production of LED arrays and light engines for various markets.

This part of the company began as a spin-out from University College Cork, which developed what has become ProPhotonix’s proprietary COBRA chip-on-board (COB) LED technology. As the name implies, COB manufacturing places unpackaged LED chips directly onto the circuit board. “We buy chips and mount them very close together in thermally-efficient packages,” says Mark Blodgett, ProPhotonix’s chairman and CEO. “We offer a very strong engineering capability, and a lot of our products are custom-made.”

Blodgett says that the company’s production capacity was increased three-fold in the fourth quarter of 2010, adding automated capabilities for pick & place, die bonding and encapsulation. “We have sufficient capacity for 2011,” he says. “Despite their banking woes, we’ve found Ireland to be an incredibly creative engineering environment with many highly qualified engineers available.”

Applications

Among ProPhotonix’s LED products are COBRA and COBRA Slim (Fig. 1), which addresses complex linescan illumination needs; and Lotus, a highly reliable replacement for fluorescent machine-vision applications.

Lighting project seeks to change the color of downtown

Lighting project seeks to change the color of downtown
Downtown Le Mars may soon be more colorful at night, if a joint venture between the Le Mars Area Chamber of Commerce and the Le Mars Convention and Visitors Bureau (CVB) is undertaken.

The two groups are proposing to install permanent LED lighting on the top of buildings in a five-block area of downtown, as well as lighting the trees downtown.

The proposed designated first phase area would include Central Avenue from the Le Mars Beauty College to Bamboo Village - both sides of the street and on Plymouth Street from Bixenman Insurance to Sherwin Williams.

Estimated cost of the project is $56,000 and will be paid for by fundraising events held by the Chamber and CVB.

A public meeting on the project will be held Tuesday at 5:30 p.m. in the lower level of Primebank.

Those attending are asked to use the north doors of Primebank. Business owners, building owners and Le Mars citizens are invited to come to the meeting to learn more about the possible project.

A presentation by Bill Kahler, of Channel Brite Lighting, of Dakota Dunes, S.D, will demonstrate the lighting system and answer questions about the project.

The Channel Brite Permanent Outdoor LED Lighting System was developed to provide year-round lighting that is attractive and long lasting, according to Mary Reynolds, Main Street manager, Le Mars Chamber of Commerce.

The system is energy efficient and it only needs to be put up once. The system is virtually unnoticeable when not turned on, and can easily be changed to celebrate any occasion.

Le Mars is looking at the color combination of red, green and amber.

"We like this color combination because it color coordinates with (red) Le Mars Community School, (green) Gehlen Catholic and (amber) a good off-season color," Reynolds said.

The city of Clarion was among the first to use Channel Brite to light its downtown. Reynolds and Main Street Organizational and Design Committee members have been exploring the possibility of doing a similar project in Le Mars for two years.

If the project proceeds, one business in each block will house a controller mechanism for the block. Business owners in the block would share the cost of electricity. The City of Le Mars will pay the cost for lighting the trees, according to Reynolds.

"We'll also be able to coordinate our color scheme with Valentine's Day, St. Patrick's Day, Fourth of July, Christmas, Memorial Day along with lots of other school events," said Jessica Lingren, CVB manager. "You can change the pattern and speed so that you can have a different light display every night! It's going to add a lot to our downtown atmosphere."

"We feel this project, along with the wonderful downtown we have, will create a warm and welcoming space," said Reynolds.

THE HUMAN COMEDY

GATES OF LIGHT & THE HUMAN COMEDY
Lyonel Feininger began his career as a cartoonist and illustrator -- a very successful one and a very original one. He was so successful that in 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language, and as a group of juxtaposed images, like visual art.”(1) His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside -- as a listener (inspired initially by Wagner, then by Schoenberg) -- while Feininger knew it from the inside. He was born into a musical family -- his father was a violinist and composer, his mother was a singer and pianist, and at the age of 16 he left New York, where he was born (1871), to study music and visual art in Germany, from where his parents emigrated.

He studied violin with his father, and by the age of 12 he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. Steamboats and sailing ships appear again and again in his later work. So do the “Connecticut hills against the Western sky” -- with its setting sun. But now its “wide valleys and solitary farms, barns, and the great old trees, amongst which the village church is nestled,” have been transposed to rural villages of Germany, as Feininger himself remarked.

The later works are nostalgic, but more to the artistic point they are illustrational as well as abstract -- abstract illustrations, even more pointedly, populist abstractions, that is, abstractions that appealed to the same masses who read the comic strips as well as to the esthetic cognoscenti who despised them. Comic strips were too “vulgar” to be taken seriously as art, but Feininger’s abstract images were esthetically precious despite their illustrational character. But the taint of being a people’s art -- an art that had broad rather than specialist appeal -- hung like a cloud over Feininger’s abstractions, which is why they have never been fully respected by the “purists.” Greenberg ignores them, and Mark Rosenthal didn’t bother to show them in his Guggenheim exhibition of "Abstraction in the 20th Century: Total Risk, Freedom, Discipline," presumably because they weren’t risky, free, and formally disciplined enough -- that is, they weren’t totally, ruthlessly abstract.

They were always second best; however formally refined, their subject matter stood out like a sore thumb, as it were, poking one in the eye with its offensive self-evidence, and with that its commonplaceness. Its ordinariness was not masked sufficiently by extraordinary art, however extraordinary Feininger’s art was -- which was apparently not extraordinary enough, because its subject matter remained too obvious: thus the vicious circle in which his art was caught. However “modernized” into Cubo-Futurist obscurity, the Clouds above the Sea I, 1923, the sailboats in X 54, 1929, and the Church at Gelmeroda XII, 1936, remain all too recognizable, and, worst of all, accurately described. The works were “pictorial,” and as such seriously flawed from the prevailing abstract perspective. They were scenic pictures, however abstractly scripted. Purity for Feininger was an instrument of precision, not an end in itself, which perhaps explains the oddly engineered, not to say Bauhaus look of his abstract images. (He was associated with the design school until it closed, and designed the optimistic Cathedral, 1919, that appeared on the brochure advertising it. The dramatic image, seamlessly integrating elements of Cubism, Futurism, Expressionism and Constructivism in a new artistic structure -- a consummate avant-garde architecture, yet, ironically, one which used traditional sacred architecture as a template, even Platonic ideal -- symbolized “the new structure of the future,” and with it the reconciliation of the warring avant-garde factions, their working in the name of a common artistic and social cause, that Gropius celebrated in the brochure’s manifesto.)

Feininger’s paintings may not have seemed up to abstract par when they were made -- he never had the pride of pioneering place that Kandinsky and Gropius had (in a 1926 group photograph of the Bauhaus Masters, Gropius and Kandinsky stand in the center, their right arms raised in a quasi-Napoleonic pose, while Feininger and the other masters stand in more relaxed, passive poses, their arms lowered, as though submitting to the authority of the leaders) -- but they have gained a new lease on importance now that purity has become passé, not to say peculiarly ridiculous. Hygienically sacrificing familiar content to unfamiliar form -- paring content away until there is only consciousness of form -- backfired into staleness and sterility. It led to short-lived esthetic success -- the so-called “new lyricism” that Braque spoke of -- but it became a failure of creative imagination, however initially creative.

Feininger realized this, perhaps more than any other abstractionist of his time. He never lost his imagination, that is, his imaginative response to external, consciously perceived reality -- unlike Kandinsky, who argued that abstraction existed to evoke internal reality, to make us conscious of unconscious content (suggesting that he was not equal to external reality, as his so-called “Impressions” of it confirm, and, as his “Improvisations” suggest, he had no sense of the logic of the unconscious, but rather regarded it as a sort of Pandora’s box of illogical feelings, exciting and surprising but finally incoherent and incomprehensible, and as such absurdly autonomous ends in themselves).