著者

清水 友貴 高橋 英之 伴 碧 石黒 浩 石塚 裕己

雑誌

2023年度 人工知能学会全国大会(第37回)

巻号頁・発行日

2023-04-06

著者

藤田 宏美 清水 友里 大塚 譲 上田 悦子

出版者

一般社団法人 日本家政学会

雑誌

日本家政学会誌 (ISSN:09135227)

巻号頁・発行日

vol.67, no.8, pp.469-478, 2016 (Released:2016-08-23)

参考文献数

12

被引用文献数

1

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Class practice and opinion on food safety education including that of genetically modified food was carried out based on a survey of high school home economics teachers in T prefecture. More than 90% of the teachers surveyed had taught food safety classes which included classes on food safety and genetically modified food. 38% of the teachers did not regard GM food as unsafe. Those teachers considered the advantages and disadvantages from a neutral viewpoint. The teachers who regarded GM food as unsafe felt the same way about food additives. They were also of the opinion that students became aware of the possible harmful effects of genetically modified food following a class on the subject. Teachers wanted to have up to date information on genetically modified food and wanted to conduct DNA recombination experiments in class. It is necessary to have the opportunity to learn about genetic information and genetic experiments for home economy teachers. It is also essential to develop good teaching materials about genetically modified food.

著者

清水 友美

出版者

成城大学大学院文学研究科美学・美術史研究室

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.22, pp.1-41, 2016-03

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From the Meiji to the Taisho period, a nudity controversy surfaced several times. Hakuba-kai, which was led by Seiki Kuroda, considered the nude the basis of Western art, but the Japanese did not have sufficient knowledge of western art to understand. This lack of knowledge caused the dispute. Subsequently, authorities regulated nudity in exhibitions and publications for a long period of time. Regulation of nudity has already beenstudied, but we need to investigate the kind of nudity regulated and the regulations that influenced painters and their activities. This paper investigates the Hakuba-kai Exhibition, Ministry of Education Art Exhibition (Bunten Exhibition), and Nika Art Exhibition from the viewpoint of regulation, focusing on the transition of the depiction of the nude woman from the Meiji to the Taisho period. Before the Meiji period, women and men wore clothing that allowed them to accomplish their work. Their ideas about covering the body were not hindered by western morality-based conventions. However, by imitating western culture to enforce “Ishiki kaii jyourei, the ordinance designed to emulate foreigners’propriety,” the thought planted in the Japanese mind was that nudity was obscene. Thereafter, authorities regulated publications with nude images. Kuroda’s Le Lever, which was exhibited at the 4th Domestic Industrial Exposition, served as a challenge to authority and generated the nudity controversy in newspapers. Afterward, police required that Kuroda’s “Nude,” which was exhibited at the 6th Hakuba-kai Exhibition in 1901, be covered with a cloth below the waist. That is, this is the “koshimaki (waistcloth) incident.” The incident was the outcome of the Security Police law implemented in 1900 and led the painters of Hakuba-kai to draw nude women with waist coverings. Police and the Ministry of Education continued to regulate nudes in art after the Bunten Exhibition. The Ministry of Education told painters that they must eliminate nude images from their works, and this caused a situation in which many nude drawings were disqualified from winning awards. The Minister of Education ultimately declared that police must not invade the winning work of the Bunten Exhibition in 1917. Partially clothed woman continued to be exhibited in the art at the Bunten Exhibition, and for a short time painters drew an idealized nude. They gradually began to draw frontal nudes and increasingly created work that made the nudes in their art unrealistic. This phenomenon was common at the Nika Exhibition. Following Cubism and Fauvism, the Nika Exhibition included drawings of nude women. The characteristics of the nude images of art in the Nika Exhibition were women reclining on a bed, posing with their arms or legs held up to exaggerate their physical features, and showing nude women indoors. The authorities initially regulated art with nude woman lying in bed drawn by Sotaro Yasui. After the 5th Nika Exhibition, they stopped controlling nudity. Painters no longer presented the female form realistically. They exaggerated. The nude images drawn from the Meiji to the Taisho periods were influenced by both the regulations and because of the regulations, the numbers of works exhibited were almost influenced. Then regulation standards gradually changed from the viewpoint of bodily exposure to the viewpoint of depicting the body in realistic situations such as a nude woman reclining in bed. Considering this history, painters had to be conscious of regulations restricting the depiction of nude women, which was historically part of the depiction of women. The important issue is that these artists tried to express their ideas even though they were conscious of the regulations.

著者

清水 友美

出版者

成城大学大学院文学研究科美学・美術史研究室

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.22, pp.1-41, 2016-03

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From the Meiji to the Taisho period, a nudity controversy surfaced several times. Hakuba-kai, which was led by Seiki Kuroda, considered the nude the basis of Western art, but the Japanese did not have sufficient knowledge of western art to understand. This lack of knowledge caused the dispute. Subsequently, authorities regulated nudity in exhibitions and publications for a long period of time. Regulation of nudity has already beenstudied, but we need to investigate the kind of nudity regulated and the regulations that influenced painters and their activities. This paper investigates the Hakuba-kai Exhibition, Ministry of Education Art Exhibition (Bunten Exhibition), and Nika Art Exhibition from the viewpoint of regulation, focusing on the transition of the depiction of the nude woman from the Meiji to the Taisho period. Before the Meiji period, women and men wore clothing that allowed them to accomplish their work. Their ideas about covering the body were not hindered by western morality-based conventions. However, by imitating western culture to enforce "Ishiki kaii jyourei, the ordinance designed to emulate foreigners'propriety," the thought planted in the Japanese mind was that nudity was obscene. Thereafter, authorities regulated publications with nude images. Kuroda's Le Lever, which was exhibited at the 4th Domestic Industrial Exposition, served as a challenge to authority and generated the nudity controversy in newspapers. Afterward, police required that Kuroda's "Nude," which was exhibited at the 6th Hakuba-kai Exhibition in 1901, be covered with a cloth below the waist. That is, this is the "koshimaki (waistcloth) incident." The incident was the outcome of the Security Police law implemented in 1900 and led the painters of Hakuba-kai to draw nude women with waist coverings. Police and the Ministry of Education continued to regulate nudes in art after the Bunten Exhibition. The Ministry of Education told painters that they must eliminate nude images from their works, and this caused a situation in which many nude drawings were disqualified from winning awards. The Minister of Education ultimately declared that police must not invade the winning work of the Bunten Exhibition in 1917. Partially clothed woman continued to be exhibited in the art at the Bunten Exhibition, and for a short time painters drew an idealized nude. They gradually began to draw frontal nudes and increasingly created work that made the nudes in their art unrealistic. This phenomenon was common at the Nika Exhibition. Following Cubism and Fauvism, the Nika Exhibition included drawings of nude women. The characteristics of the nude images of art in the Nika Exhibition were women reclining on a bed, posing with their arms or legs held up to exaggerate their physical features, and showing nude women indoors. The authorities initially regulated art with nude woman lying in bed drawn by Sotaro Yasui. After the 5th Nika Exhibition, they stopped controlling nudity. Painters no longer presented the female form realistically. They exaggerated. The nude images drawn from the Meiji to the Taisho periods were influenced by both the regulations and because of the regulations, the numbers of works exhibited were almost influenced. Then regulation standards gradually changed from the viewpoint of bodily exposure to the viewpoint of depicting the body in realistic situations such as a nude woman reclining in bed. Considering this history, painters had to be conscious of regulations restricting the depiction of nude women, which was historically part of the depiction of women. The important issue is that these artists tried to express their ideas even though they were conscious of the regulations.

著者

清水友吉 編

出版者

清水友吉

巻号頁・発行日

1915

著者

清水 友樹 バール ラジェンダール 坂田 雅雄 浦 環 柳澤 政生

出版者

一般社団法人電子情報通信学会

雑誌

電子情報通信学会技術研究報告. VLD, VLSI設計技術 (ISSN:09135685)

巻号頁・発行日

vol.104, no.590, pp.19-24, 2005-01-19

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海中の生態環境は謎に包まれている部分が多く, 昨今工学的視点からその生態を探ろうという試みが多くなされている.現在我々はその手法の一つである, 自律型海中ロボットによる海中生物の調査を行っている.ターゲットとしている生物は, 捕食のために2000mもの深海に潜るとされ, 生態が明らかでないマッコウクジラである.本稿では, マッコウクジラの発する音声を解析するシステムをFPGAにより実装し, 個体識別と方位角, 俯角等の位置情報を推定する手法を提案する.

著者

児玉 哲彦 清水 友理 安村 通晃

出版者

一般社団法人情報処理学会

雑誌

情報処理学会研究報告音声言語情報処理(SLP)

巻号頁・発行日

vol.2007, no.11, pp.29-33, 2007-02-09

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近年東京都秋葉原の電気街において再開発が進み、来訪者の行動において、これまでの電気街と線路を挟んだ再開発地域との間の分断等の困難が生じていることが明らかとなった。本研究では、電気街についての土地勘を共有し、街の多様な利用を促進するため、携帯電話と QR コードを用いて来訪者の訪れた店舗の履歴を記録し、利用者間の交換を可能にする街のソーシャルブックマークシステム「ここ HORE」システムの開発と運用について報告する。ユーザビリティ評価実験の結果、スポットのマーキングと検索については概ね問題なく利用できるものの、地図情報の表示については改善が必要なことが明らかとなった。Nowadays in the Electric town of Akihabara, Tokyo, due to the redevelopment which is in progress, there are multiple difficulties in exploring the town, such as diversion between the electric town and the redevelopment area. In this research, in order to share the locality knowledge and to promote various experiences in the town, we developed and operated a social bookmarking service for town called "KokoHORE" that records the spots which a visitor has visited combining the cellular phone and the QR code and let the users exchange the record. From the usability testing, we concluded that the marking of the spots and the search generally functioned well, but the map view needs improvement.

著者

清水 友樹 バールラジェンダール 坂田 雅雄 浦 環 柳澤 政生

出版者

一般社団法人情報処理学会

雑誌

情報処理学会研究報告システムLSI設計技術(SLDM) (ISSN:09196072)

巻号頁・発行日

vol.2005, no.8, pp.93-98, 2005-01-26

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海中の生態環境は謎に包まれている部分が多く、昨今工学的視点からその生態を探ろうという試みが多くなされている。現在我々はその手法の一つである、自律型海中ロボットによる海中生物の調査を行っている。ターゲットとしている生物は、捕食のために2000mもの深海に潜るとされ、生態が明らかでないマッコウクジラである。本稿では、マッコウクジラの発する音声を解析するシステムをFPGAにより実装し、個体識別と方位角、俯角等の位置情報を推定する手法を提案する。Many parts of sea environment are unclear,so a lot of research activities are trying to explore and analyze it with trechniques of engineering. We are investigating the sea organism by the autonomous underwater vehicle which is one of the techniques. The organism we are targeted, is the Sperm Whale that goes underwater to 2000m for his own predation. In this paper,we implement the system with FPGA to analyze sound the Sperm Whale produces,and propose the method to classify individuals and to estimate the locational information as an angle of direction and depression.

著者

清水 友 Constancio A. Asis Jr. 安達 克己 中西 康博 佐伯 雄一 長友 由隆 赤尾 勝一郎

出版者

一般社団法人日本土壌肥料学会

雑誌

日本土壌肥料学会講演要旨集 (ISSN:02885840)

巻号頁・発行日

no.50, 2004-09-14

著者

清水 友理 児玉 哲彦 渡邊 朗子 三宅 理一

出版者

一般社団法人日本建築学会

雑誌

学術講演梗概集. A-2, 防火,海洋,情報システム技術 (ISSN:13414445)

巻号頁・発行日

vol.2007, pp.477-478, 2007-07-31

著者

清水 友裕 野村 浩郷

出版者

一般社団法人情報処理学会

雑誌

情報処理学会研究報告自然言語処理(NL) (ISSN:09196072)

巻号頁・発行日

vol.2007, no.7, pp.87-92, 2007-01-26

参考文献数

11

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自然言語対話において,音声認識や文章解析での誤りによって適切な応答が困難になるという問題がある.本稿では,そのような誤りを訂正する対話を対話全体の一部として自然な形で埋めこみ,誤り訂正をしながら対話を適切に進行させる対話処理について述べる.対話のドメインとしては,便宜的に,パソコン技術サポートを行うコールセンターでの質問応答を取上げ,既存の大量な質問応答データから取得したドメイン知識などを適用して,誤り訂正を行う対話処理について考察する.In a natural language dialog, there is a problem that a suitable response becomes difficult by the mistake in speech recognition and/or the error in text analysis. In this paper, the dialog which corrects such errors is incorporated in a form natural as a part of whole dialog, and the dialog processing which advances a dialog appropriately carrying out an error correction is discussed. As a domain of the dialog, the question-answering at the call-center which performs personal computer technical support is taken up, for our convenience. The domain knowledge is acquired from large amount of question-answering data, and is applied to the dialog processing which performs an error correction.

著者

児玉 哲彦 清水 友理 安村 通晃

出版者

一般社団法人情報処理学会

雑誌

情報処理学会研究報告. HI,ヒューマンインタフェース研究会報告 (ISSN:09196072)

巻号頁・発行日

vol.122, pp.29-33, 2007-02-09

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近年東京都秋葉原の電気街において再開発が進み、来訪者の行動において、これまでの電気街と線路を挟んだ再開発地域との間の分断等の困難が生じていることが明らかとなった。本研究では、電気街についての土地勘を共有し、街の多様な利用を促進するため、携帯電話とQRコードを用いて来訪者の訪れた店舗の履歴を記録し、利用者間の交換を可能にする街のソーシャルブックマークシステム「ここHORE」システムの開発と運用について報告する。ユーザビリティ評価実験の結果、スポットのマーキングと検索については概ね問題なく利用できるものの、地図情報の表示については改善が必要なことが明らかとなった。