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Investigation of seismic attenuation features in Akan-Kussharo region with MLTWA method
No full textThe Akan-Kussharo region hosts post-caldera volcano groups which continue to experience active volcanism, as confirmed though GNSS observations. Over the past decades, seismic observations have contributed to understanding the subsurface structure, leading to studies on hypocenter distribution, velocity structure and attenuation structure. However, research on velocity and attenuation structures has been only primarily conducted as part of broader studies covering all of Hokkaido, Japan or studies in other regions, so that the relation between seismic attenuation characteristics and volcanic activity has not been fully elucidated yet. In this paper, we aim to uncover the features of seismic attenuation in Akan-Kussharo region through separated attenuation parameters, intrinsic and scattering attenuation, by using the MLTWA (Multiple Lapse Time Window Analysis) method with the data obtained by the Hi-net seismic network. Overall, this area shows as strong scattering and intrinsic attenuation as in other volcanic areas and seismically active regions such as Hawaii, Long Valley and southern Spain. Furthermore, temporal variations in attenuation parameters are presented over 2010-2023. However, these variations did not sufficiently clarify the relationship with the observed ground deformation. Instead, they might have been caused by differences in the hypocenter distribution and the mechanisms of the selected events, or by the inaccurate separation of scattering and intrinsic attenuation. In addition, we reveal approximate 30% of event waveforms stored in the seismic recording system in Hokkaido University are applicable to MLTWA in current seismic network. Although this study provides valuable insights into the attenuation characteristics in Akan-Kussharo region, we need further research to explore the association with temporal subsurface structural changes in more detail
アニメツーリズムのこれまでとこれから 第3部:板倉篤史氏特別講義「声のお仕事のマネジメント」（講義録）
No full text大学院生向け特別ゼミ「アニメツーリズムのこれまでとこれから」.2024年10月26日16時～18時. 北海道大学大学院国際広報メディア・観光学院407教室
Reprinting : “Bandai Ozassyo Kokon Taisei” (15)
No full text本稿では、『万代大雑書古今大成』（読み：ばんだいおおざっしょここんたいせい）の翻刻の一部を掲げる。『万代大雑書古今大成』は天保年間に発行され、明治に入り改訂版が刊行された。内容は、生活するうえで必要なことが記してある便覧である。それゆえ、古くから伝わる習慣から占星術、名付けの際の留意点等々、多岐にわたる内容となっている。『万代大雑書古今大成』は、管見のかぎり今のところ翻刻されていない。近代日本語資料の一として、また近代に於ける日本の習慣や風俗についての資料として、一定の価値はあろう。本稿では伊藤（2024）に続き、「き一」より「ゆ六」まで掲げる。This paper presents a part of the book entitled “Bandai Ozassyo Kokon Taisei”, which was first issued in the Tenpo Period (1837-1858),rewritten in present-day Japanese [characters]. It is a guide book describing the particulars of daily life at the time. It ranges widely over many themes, from traditional customs and astrology, to the points to note in naming children. Although “Bandai Ozassyo Kokon Taisei”is a printed book, and has had a revised edition issued in the Meiji period, it has not been translated into modern characters before, to the author's knowledge. As one of the sources of modern Japanese and also as a material describing Japanese manners and customs of the past, it is of indisputable value. An abstract from the book, together with the title, colophon and preface, are reproduced here. This paper reprints the Chapters Ki-1- to Yu-6 in Ito(2024)
On the relationship between obsidian hydration dates and archaeological entities : a case study of the Kiriki-Mimitori site, Kagoshima Prefecture, Japan
No full text小論は、黒曜石水和層法によって得られる年代が、考古学的事象に関する様々な時間的枠組みとどの程度対応付けられるのかという課題を考察した。考古学的事象に関する時間的枠組みを4つのモデル（点モデル、線モデル、ブリックモデル、頻度モデル）に整理し、黒曜石水和層年代がどのモデルと整合的となるかを、多層遺跡である鹿児島県・桐木耳取遺跡の5つの文化層ごとの水和層計測値の分布から吟味した。計測値は、層序関係（地層累重の法則）に沿うように、下層から上層へかけて薄くなる傾向を示すが、相互に上下関係をもつ文化層間では重複分布する。標準偏差が大きな第III文化層（細石器草創期）の計測データを除くと、第II文化層（後期旧石器）と縄文時代の文化層に時間的境界がみられることから、ブリックモデルが示す文化的違いを反映している可能性がある。一方で、相対的に下層の2文化層間（後期旧石器、細石器／草創期）と上層の3文化層間（縄文早期以降の3文化層）における計測値分布は、それぞれ頻度モデルと対応付けられる漸移的な変化を示す。さらに、水和層計測値の変異（水和層年代の幅）が生じる要因を考察した結果は、元素組成の異なる様々な産地の黒曜石が用いられたこと、産地ごとに異なる黒曜石含水量が水和速度へ影響したことを示唆している。This paper argues the extent to which obsidian hydration dates are comparable to various temporal frameworks of archaeological entities. Among four models of temporal frameworks that describe aspects of archaeological entities (i.e., point model, linear model brick model, and frequency model), to specify a model that appropriately explains the variation in obsidian hydration dates, I examine systematically collected optical measurements of hydration rims on the obsidian flakes from five cultural units of a stratified open-air site of Kiriki-Mimitori, Kagoshima Prefecture, Japan. A statistical analysis reveals that the rim measurements decrease from the lower to upper cultural layers, while the confidence intervals of measurements between every pair of two consecutive cultural layers overlap. Having excluded the measurements of Cultural Layer III that have the largest standard deviation, a temporal boundary between the lower Cultural Layer II (Upper Paleolithic unit later than the eruption of AT tephra) and the upper three Jomon Layers emerges. This boundary may reflect the cultural difference between the Holocene Jomon and the Pleistocene Upper Paleolithic, comparable to the brick model. Contrary, a gradual change in the distnbutions of measurements from the lower two cultural layers (i.e., Cultural Layers II and III) and upper three cultural layers (i.e., Initial Jomon, Early/Middle/Late Jomon, and Terminal Jomon) is likely comparable to the frequency model. Moreover, among the factors that potentially create variations in hydration rim measurements, intrinsic water content likely varied depending on obsidian geochemistry is the most plausible source of variation among the obsidian flakes of Kiriki-Mimitori
The Reality of Communication Mediated by Conceptual Diagrams among Researchers in Different Disciplines : A Case Study of Concept Visualization in Interdisciplinary Collaborative Research
No full text科学において概念図を利用したコミュニケーションの機会が増加している．とくに複数の学問分野の研究者による共同研究では，研究の考え方あるいは達成すべき目標といった，コンセプトを可視化した概念図が多く用いられるようになっている．一方で，概念図を用いて研究者どうしがどのようにコミュニケーションを行っているのか，さらに概念図とは何であるのかについての検討は未だに少ない．本稿では，筆者のひとりが参与した学際的な共同研究プロジェクトにおける概念図を介した対話を事例に，研究の「コンセプトを可視化する」過程で何がどう語られたのかを明らかにし，概念図を研究者がどのように解釈し，コミュニケーションを行ったのかを検討した．その結果，概念図を介したコミュニケーションでは，図像が多義的であるがゆえの困難が生じていた．一方で，概念図の解釈をめぐる議論のなかで，同一の専門分野の研究者間も含めた，プロジェクトメンバー間での解釈の違いが明確になった．そうした立場による解釈の違いの明確化こそが，概念図をバウンダリー・オブジェクトたらしめていることが示唆された．さらに，話者が概念図の図的表現を比喩的に用いて，研究コンセプトを構成する要素の配置を「操作」することが，研究コンセプトそのものの精緻化に寄与したことが明らかになった．このことは，バウンダリー・オブジェクトとしての概念図が，異分野間コミュニケーションを促進するツールとなりうることを示している．Conceptual diagrams are increasingly being used to represent research ideas and goals and for communication in multidisciplinary and collaborative studies. However, there are very few investigations into how researchers use them to communicate with each other, and studies on the nature of conceptual diagrams themselves are rare. This article presents a case study of dialogue mediated by conceptual diagrams in an interdisciplinary collaborative research project. We clarify what was discussed during the process of visualizing the research concept, and examine how the researchers interpreted and communicated using conceptual diagrams. Our results reveal that the multiple semantics of the iconography initially caused difficulties in communication, but that these were moderated by use of conceptual diagrams. Our study of how the conceptual diagrams were interpreted additionally revealed differences in understanding on the part of project members, even among researchers in the same discipline. We propose conceptual diagrams as potential boundary objects, in that they can identify differences in thinking between participants. Moreover, participants used the graphical expressions in the conceptual diagrams to rearrange the elements composing the research concept, and this process helped to further refine the research concept. Conceptual diagrams thus have potential as a tool for encouraging interdisciplinary communication
A Study of Asahibashi Bridge Landscape by Yoshida Hatsusaburo
No full text昭和7（1932）年、北海道旭川市の旭橋が、それ以前の橋から現在の橋（以下、「現旭橋」）に架け替えられた。橋長は226m、ドイツ製の高張力鋼を用いた堅牢なアーチ橋である。設計指導を担当した北海道帝国大学工学部長の吉町太郎一は、現旭橋が「旭川のシンボルになるような橋」になることをめざしたという。その言葉どおり、旭橋は現在でも旭川市の名所のひとつとして知られている。現旭橋完成から数年後の昭和11-12（1936-1937）年頃、日本全国をフィールドとして活動した画家・吉田初三郎（1884-1955）は、旭橋を画題とする作品をいくつか制作した。初三郎による旭橋の絵画は、近代の都市開発の一環として建設された橋梁を対象としながらも、どこか江戸時代の浮世絵風景版画を想起させる。本稿では、1）初三郎の手になる旭橋の絵画について、どのような表現的特徴が、浮世絵風景版画と共通しているのか、2）どのような意図で、初三郎は旭橋の絵画に浮世絵風景版画と共通した表現を用いたのかについて検討した。検討の結果、初三郎は、浮世絵風景版画によく見られる反り橋の形状を、構造や材質は異なるものの、形態的には類似する旭橋のアーチ形に重ね合わせたことや、浮世絵風景版画表現技法のひとつである「一文字ぼかし」に似せた表現を用いることによって、旭橋の絵画に浮世絵風景版画的表現を取り入れたことを指摘した。加えて、初三郎は常にそのような表現を用いたわけではないため、旭川市のシンボルという位置づけをふまえて意識的に用いた可能性を指摘した。本稿は、初三郎研究の視点からみれば、浮世絵風景版画が初三郎に与えた影響について検討する一助になると考える。Asahibashi Bridge, located in Asahikawa City, Hokkaido, replaced its predecessor in 1932. The robust arch bridge, measuring 226 meters in length, was made from German steel under the design guidance of Yoshimachi Taroichi, then the head of Hokkaido Imperial University's Engineering Department. He envisioned the bridge as a symbol of Asahikawa. As a result, it remains one of Asahikawaʼs most famous landmarks. Around 1936-1937, Yoshida Hatsusaburo (1884-1955), an artist who worked throughout Japan, created several pictures featuring Asahibashi Bridge. Although these pictures depicted a bridge built as part of modern urban development, these works are reminiscent of ukiyo-e landscape prints of the Edo period. This paper examines 1) the expressive techniques Hatsusaburo used in his Asahibashi Bridge pictures and their similarities with those found in ukiyo-e landscape prints and 2) the motivations behind these methods of expression. The analysis reveals that Hatsusaburo superimposed the warp bridge shape, which is often seen in ukiyo-e landscape prints, on the arch shape of Asahibashi Bridge. The two forms have a morphological resemblance, although they are structurally and materially different. Moreover, by using a method of expression reminiscent of “Ichimonji bokashi,” one of the expression techniques of ukiyo-e landscape prints, Hatsusaburo incorporated ukiyo-e landscape print-like expressions into his depiction of the bridge. Additionally, his selective use of this method of expression suggests that it was the result of his taking the Asahibashi Bridge as a symbol of Asahikawa. From the perspective of Hatsusaburoʼs research, this paper also sheds light on the influence of ukiyo-e landscape prints on his works