This study proposes an evaluation model of business value which provides information for more reliable decision making considering its uncertainty, to create strategic options of product development projects which involves various uncertain factors throughout the life cycle stages. In order to support the modeling process of the reverse profit-loss calculation, this paper proposes a calculation method of business value based on empirical relationships between the variables by classifying uncertain variables and fixed variables, and via analyzing dependency between variables using Design Structure Matrix. The value of the product development project is evaluated as EPV (expected present value) and NPV (Net Present Value). A generation method of the strategic options and project activities is proposed based on the calculation of EPV and NPV. A portfolio method is presented to select best strategic options which make largest project value. Project manager can compare the strategic option's overall profit by calculating its cost and income. Proposed models and methodology is applied to the product development project its name is i-. I- is a wall-repairing robot for developing countries. I- is mechatronics machinery which has new function, new structure, and new market. A prototype of i- is developed and evaluated. Via estimation of the project value of i-, contributions of applying proposed model are confirmed. There are two contributions. The project manager can (1) select best strategic options, and (2) quit the development project with less cost from early lifecycle stage.

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This article reports characteristics and mutual relationship of uranium mineralization in the Olympic Dam deposit, Mount area and Beverley deposit in South Australia based on information obtained from an excursion after IAGOD symposium 2010, Adelaide. A large-scale of hematite breccia complex uranium mineralization including Olympic Dam occurred in Proterozoic in the east of the Gawler Craton. The Mount area with basement rocks of the Adelaide Geosyncline overlying the Gawler Craton also has the hematite breccia complex uranium mineralization in Silurian although no uranium deposit has been economically mined. Sedimentation of uranium-rich clastics from the Mount area in the basin formed the Cenozoic sandstone-type uranium deposit (e.g., Beverley).

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This study proposes an evaluation model of business value which provides information for more reliable decision making considering its uncertainty, to create strategic options of product development projects which involves various uncertain factors throughout the life cycle stages. In order to support the modeling process of the reverse profit-loss calculation, this paper proposes a calculation method of business value based on empirical relationships between the variables by classifying uncertain variables and fixed variables, and via analyzing dependency between variables using Design Structure Matrix method. The value of the product development project is evaluated as EPV (expected present value) and NPV (Net Present Value). A generation method of the strategic options and project activities is proposed based on the calculation of EPV and NPV. A portfolio method is presented to select best strategic options which make largest project value. The proposed method enables a project manager to compare the strategic option's overall profit by calculating its cost and income. Proposed models and methodology is applied to a product development project its name is i-. The i- means a new wall-repairing robot for maintaining building structures in developing countries. I- is mechatronics machinery which has new function, new structure, and new market. A prototype of i- is developed and evaluated. By estimation of the project value of i-, contributions of applying proposed model are confirmed. The application result shows that the proposed method can help the project manager to (1) select best strategic options, and (2) quit the development project with less cost from early lifecycle stage.

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Tonoko, which is broadly used in processing wooden furnitures in Japan, has not been accepted as a causal substance of pneumoconiosis. Three cases of pneumoconiosis were found among four workers who have been engaged in wooden furniture painting and have dealt with tonoko daily for more than ten years. The atmosphere in their working room is always dusty and it is supposed that the main content of the dust is tonoko. Analysis revealed that tonoko was a soil substance which contained about 50% quartz. The results support the assumption that their disease may be referable to tonoko inhalation.

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バクテリアを使った発癌物質のテストシステムは, しばしば偽陽性, 偽陰性を示す. この点を克服するため, 動物細胞を用いた, いくつかの短期間テストが開発提案されてきた. その内の1つに, によって開発されたDNA合成阻害テストがある. 我々はマウスのL細胞を用いて, バクテリアのテストシステムで偽陰性を示した物質数種類についての方法を試みたところ, いずれも陽性の結果を得た. 本法は簡便かつ有望なテストシステムと思われる. 今後更に多数のテスト物質について検討されることが期待される.

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Tibetan thangka is a genre of religious art, mostly paintings, created in the Tibetan Cultural Region since the 12th century. Notwithstanding thangka-making is considered as a sedentary occupation, the itinerant aspect in painters’ life is hard to disregard. Most painters travel for economic purposes, opportunities to learn different artistic styles and accumulation of religious merits. Their diverse traveling experiences will be the focus of this article. First, I examine the thangka-making practices in two historical centers—Rebgong and Lhasa. I outline the process of commercialization of Thangka Art within the larger narrative of Tibetan modernization. Second, by analyzing the journeys of two artists—a Sichuan-born Tibetan thangka

traveling in West China, and a Shikatse-born Tibetan thangka traveling the global art world—I illustrate how the modern itinerary is relevant to the historical and institutional background. Additionally, forays into the contemporary art world, can themselves be construed as journeys.

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死者は生者よりもポジティブに評価される傾向がある。death positivity biasと呼ばれるこの現象は、シナリオ実験と実際の雑誌記事の両方で確認されている。絵画の世界でも同様に、ゴッホやモジリアーニなど、死後になって評価が高まる画家の存在が知られている。死後に評価が向上する現象は、ゴッホのように傑出した才能をもつ特別な画家以外でも生起するのだろうか。つまり、death positivity biasは絵画全般において生起するのだろうか。この点を検証することが本研究の第一の目的であった。第二の目的は、上記でdeath positivity biasが確認されたとして、それが画家の死による効果なのか、あるいは作品の希少性の高まりによる効果なのかを検討することであった。筆者らはシナリオ実験を行い、架空の無名画家の死亡条件と存命条件、さらに活動停止条件で、絵画および画家への評価を比較した。分散分析の結果、death positivity biasは確認されなかった。この結果は、先行研究がターゲットとした実業家や一般人などとは異なり、画家は死による恩恵を受けにくいことを示している。death positivity biasの発生境界条件や今後の研究の方向性が議論された。

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A 23 year-old male who complained of hoarseness was admitted to our hospital because of a laryngeal tumor. The tumor was removed by laryngomicrosurgery in February, 1996 and the histopathological diagnosis was laryngeal papilloma. One and a half months after removal, the tumor recurred at almost the same site and gradually increased to the size before removal in April, 1996. The laryngeal tumor was observed to have recurred in December, 1996, but then disappeared spontaneously and completely in January, 1997.
Although the patient was not previously employed as a , he was engaged in the job of spray painting after the Hanshin earthquake (January 17, 1995). The onset of the complaint and the disappearance of the laryngeal tumor occured in accordance with the commencement and completion of his job as a , respectively. The role of the chemicals and papilloma virus in the development of laryngeal papilloma is discussed.

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The so-called “Great Mongol Shāhnāma” is an illustrated manuscript attributable to Tabrīz (northwest Iran) in the 1330s during the Ilkhanid period. Only one-fourth of the original manuscript survives and its folios are currently dispersed among collections. To examine how the painters prepared their illustrations for this manuscript, this paper takes up the scenes of mourning, which was an uncommon subject for illustration. When the text and the image are closely examined together, it is clear that the painters followed only the text transcribed on the folios they were assigned to illustrate. They tried to visualize what was written in the text as much as possible, almost word by word, but had to compensate for some lack of information with contemporary funerary customs. The discrepancy between the text and image (i.e. exterior vs. interior setting) of the “Picture of the Coffin of Iskandar” (Freer Gallery of Art, F1938.3), one of the most famous paintings from the manuscript, can be fully understood when this suggested procedure of creating illustrations is considered.

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It has been already noticed almost for one century that the figure of the dead as well as of the bereaved are often depicted together on white ground lekythoi of the Classical period It has, however, hardly been tried to define the status of the dead, namely whether the figure represents him in his life time or after his death Rather the definition seems to have been avoided This prevaling attitude is influenced by Buschor's view He regards the subject of the scenes as the "Verbundenheit" between two people, and he saids the idea that the bereaved and the dead should be distinguished clearly in the scenes is irrelevant The painters did not intend that Life and death are overlapped in the scenes and they are inseparable However, after I found a remarkable representation on some white ground lekythoi by the Achilles-, his interpretation began to seem questionable to me It is the hand pointing to the earth with forefinger that I have found The depicted it three times on his lekythoi in New York , two on the lekythoi with grave stele (1989 281 72, 08 258 16) and one without suggestion of the location (08 258 18) Since the left us various exquisite representations of the hands, for example, that very soft hand playing the lyre in Munich, and also, by comparing some hands of the same form but in different contexts by some other vase painters from the time, we can conclude that he painted consciously these three hands to point to the earth Subsequently, what do these hands mean? Do they not mean that the figures belong to the world of Hades? We know from literary sources, for example, the tragedies from the same period, that the Greeks generally had a common idea that the dead lived in the underworld or in the tomb Therefore we can regard the figure of the dead as someone who has already crossed the river Acheron That means that the Achilles- intended to distinguish the dead and the bereaved Why therefore can the dead and the bereaved share the same sphere, even though each belongs to the different worlds? I regard the scene that the dead appears in front of the bereaved, especially in the scene with a grave stele, at the tomb It is of course a fantasy But this conception is sometimes seen also in the tragedies Aeschylus depicted the dead Dareios appearing at his tomb(Persai, 681ff), and Sophokles made Elektra speak to the tomb of her father asking him to appear in front of her (Elektra) These examples enable us to consider the scenes on the lekythoi as a representation of the wish of the family of the deceased to see him again In this interpretation the scene and the status of the dead is defined more precisely, but it is not always incompatible with the view of Buschor, because in this interpretation as well the essence of the scene is the "Verbundenheit"

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After UV-irradiation, no difference in the survival curves was observed among cell lines derived from LEC strain (LEC) rats and WKAH strain (WKAH) rats. The dose-response curves for inhibition of DNA synthesis in WKAH-derived cells showed a sharp decline at lower doses and a mild decline at higher doses of UV-rays. In contrast, the dose-response curves in LEC-derived cell lines had no sharp component, and were almost identical to the mild component of the curves in WKAH-derived cells. These results show that DNA synthesis in the cell lines of LEC rats was more resistant to UV-irradiation than that of WKAH rats.

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In this research, a product family design concept is addressed from the product conceptual stage. For this reason, a product family design system and method is proposed to serve as a tool to represent entire product functions．The product family design method is to improve the efficiency of development and production while responding to diversifying market needs．The existing major components are shared and their combinations are considered. n this way, it is possible to respond to various needs with a lump-sum design by both reducing the number of parts and increasing the variety of products．In order to verify the effectiveness of the proposed method，a model lineup is generated and its performance is evaluated by the product family design system based on customer requirements for an autonomous exterior wall repairing device. In this paper, detailed structures of the design system are presented and its performance is compared with that of the conventional design results. As a result, the proposed product family design system contributes to achieve the performance to cover a wide range of customer requirements and reduce the number of component types compared with the conventional design.

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