Askance Volume VII, Number 2 Whole Number 32
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Remix Survey 7-6-2010-2
Remix Culture Survey Instrument Which of the following do you currently own? (check all that apply) • High-definition television set • DVD Player • Personal Video Recorder (e.g. TiVo) • Cable/Satellite television connection • Video Game console (e.g. XBOX, PlayStation) • Portable video game device (e.g. Nintendo DS, PSP) • High-speed internet connection (e.g. DSL, cable modem) • Stereo system or portable CD player • Portable MP3 player (e.g. iPod) • Satellite radio (XM, Sirius) • Turntables • Video camera • E-book reader (e.g. Kindle) • Tablet computer (e.g. iPad) • Smartphone (e.g. iPhone, Blackberry, Droid) • A non-smartphone mobile phone (phone calls and text but doesn’t have more advanced features like video and web) How often have you done the following activities in the past month? Never Rarely Sometimes Often Daily or more • Watched TV shows or movies on a TV set (not computer) • Played non-online games on a console (e.g. XBOX, PlayStation) • Played non-online games on a computer • Listened to CDs • Listened to digital music (e.g. MP3s) • Listened to the radio • Read books • Read newspapers or magazines • Download or streamed a movie, television show, or video clip online. • Played a game online • Downloaded or streamed music online For the remainder of this survey, please consider the following definitions: Sample-based media: Creating something different using elements of preexisting media (pieces of music, games, shows, video, text, or photos). There are two specific subgenres of sample based media: • Remix: Adding, taking out, mixing, combining or editing your own elements or effects with preexisting media (e.g. film, music, video games) to produce something different • Mash-up: Combining only elements of preexisting media together (e.g. -
Thorpe to Retire, Again CMH Foundation Approves $3M YMCA Donation Citrus County Administrator Sets Sept
NBA: Miami looks to rebound tonight against Pacers /B1 TUESDAY TODAY CITRUS COUNTY & next morning HIGH 86 Mostly sunny to LOW partly sunny. 58 PAGE A4 www.chronicleonline.com MAY 20, 2014 Florida’s Best Community Newspaper Serving Florida’s Best Community 50¢ VOL. 119 ISSUE 286 NEWS BRIEFS Thorpe to retire, again CMH Foundation approves $3M YMCA donation Citrus County administrator sets Sept. 26 as his last day on the job The effort to build a YMCA healthy living cen- CHRIS VAN ORMER “It has been over a year since I an- stay until his replacement was found. ter received a huge boost Staff writer nounced my intention to retire,” Thorpe But on Aug. 13, the Citrus County Board Monday night when the stated in an email message. “I believe of County Commissioners (BOCC) by a Citrus Memorial Health Just five days past the anniversary of now is time to formally announce that I 3-2 vote stopped the search for Thorpe’s Foundation agreed to do- his first retirement announcement that will be retiring on Sept. 26, 2014. This replacement and allowed him to with- nate $3 million in philan- was rescinded last August, County Ad- date should give the board sufficient time draw his resignation as the board had Brad thropic funds to the ministrator Brad Thorpe announced to select a new county administrator.” never officially accepted it. Thorpe Monday that he plans to retire in On May 14, 2013, Thorpe first gave no- project. county September. tice of his retirement, saying he would See THORPE/ Page A5 With the donation, the administrator. -
Audiences, Gender and Community in Fan Vidding Katharina M
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2011 "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding Katharina M. Freund University of Wollongong, [email protected] Recommended Citation Freund, Katharina M., "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding, Doctor of Philosophy thesis, School of Social Sciences, Media and Communications, Faculty of Arts, University of Wollongong, 2011. http://ro.uow.edu.au/theses/3447 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] “Veni, Vidi, Vids!”: Audiences, Gender and Community in Fan Vidding A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy From University of Wollongong by Katharina Freund (BA Hons) School of Social Sciences, Media and Communications 2011 CERTIFICATION I, Katharina Freund, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Philosophy, in the Arts Faculty, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Katharina Freund 30 September, 2011 i ABSTRACT This thesis documents and analyses the contemporary community of (mostly) female fan video editors, known as vidders, through a triangulated, ethnographic study. It provides historical and contextual background for the development of the vidding community, and explores the role of agency among this specialised audience community. Utilising semiotic theory, it offers a theoretical language for understanding the structure and function of remix videos. -
Alternate Universe Fan Videos and the Reinterpretation of the Media
Alternate Universe Fan Videos and the Reinterpretation of the Media Source Introduction According to the Francesca Coppa, American scholar and co-founder of the Organization for Transformative Works1, fan videos are “a form of grassroots filmmaking in which clips from television shows and movies are set to music.”2 Fan videos are commonly referred to as: fanvid, songvid, vid, AMV (for Anime Music Video); their process of creation is called vidding and their editors (fan)vidders. While the “media tradition” described above in Francesca Coppa‟s definition is a crucial part of the fan video production, many other fan videos are created for anime, especially Asian ones (AMV), for video games (some of them called Machinima), or even for other subjects, from band tributes to other types of remix. The vidding tradition – in its current “shape” – goes back to the era of the first VCR; but the very first fan videos may be traced back to the seventies in a slideshow format. When channel mixers and numerous machines available to a large group of consumers emerged, this fan activity easily became an expanding one amongst the fan communities, who were often interested in new technology, whatever era it is. Vidding has now become a digital process, thanks to the expansion of computer and related technical means, including at least semiprofessional editing software. It seems relevant to point out how rare it is that a vidder goes through editing training when they begin to create fan videos, or even become a professional editor later on. Of course, exceptions exist, but vidding generally remains a hobby. -
SMASH! 2020 ANIME MUSIC VIDEO (AMV) COMPETITION Sponsored by Anime@Abbotsford
SMASH! 2020 ANIME MUSIC VIDEO (AMV) COMPETITION Sponsored by Anime@Abbotsford RULES AND SUBMISSION GUIDELINES This year we are excited to announce that our SMASH! AMV Competition will be non-exclusive. This means that we are accepting AMVs that have been entered in other competitions and events (i.e. aside from SMASH!) as well as AMVs that have been created specifically for this competition. For more information, please read the following rules and submission guidelines carefully to ensure your entries will be judged and easily managed for the duration of the competition. We will be accepting submissions for the competition from Monday 17th August 2020 to Sunday 27th September 2020, 11:59pm AEST (UTC+10). The results will be announced on Sunday 18th October 2020. The deadline for handing in entries is Sunday 27th September 2020, 11:59 p.m. (UTC+10). Condition: By entering the competition, you are hereby giving your consent for us to use your AMV(s) for SMASH! events this year and any future SMASH! events which include, but is not limited to, AMV events, promotions and/or use in other SMASH! related events. CONTENTS A) SMASH! AMV Competition general rules B) Technical specifications C) How to submit your AMV D) People’s Choice Award voting A) SMASH! AMV COMPETITION GENERAL RULES 1) The SMASH! Anime Music Video Competition is open to everyone in Australia and internationally. Everyone is welcome! 2) A maximum of two (2) AMVs are allowed to be submitted per competitor. 3) Your AMV(s) must be no older than 1 June 2019. -
2. Case Study: Anime Music Videos
2. CASE STUDY: ANIME MUSIC VIDEOS Dana Milstein When on 1 August 1981 at 12:01 a.m. the Buggles’ ‘Video Killed the Radio Star’ aired as MTV’s first music video, its lyrics parodied the very media pre- senting it: ‘We can’t rewind, we’ve gone too far, . put the blame on VTR.’ Influenced by J. G. Ballard’s 1960 short story ‘The Sound Sweep’, Trevor Horn’s song voiced anxiety over the dystopian, artificial world developing as a result of modern technology. Ballard’s story described a world in which natu- rally audible sound, particularly song, is considered to be noise pollution; a sound sweep removes this acoustic noise on a daily basis while radios broad- cast a silent, rescored version of music using a richer, ultrasonic orchestra that subconsciously produces positive feelings in its listeners. Ballard was particu- larly criticising technology’s attempt to manipulate the human voice, by con- tending that the voice as a natural musical instrument can only be generated by ‘non-mechanical means which the neruophonic engineer could never hope, or bother, to duplicate’ (Ballard 2006: 150). Similarly, Horn professed anxiety over a world in which VTRs (video tape recorders) replace real-time radio music with simulacra of those performances. VTRs allowed networks to replay shows, to cater to different time zones, and to rerecord over material. Indeed, the first VTR broadcast occurred on 25 October 1956, when a recording of guest singer Dorothy Collins made the previous night was broadcast ‘live’ on the Jonathan Winters Show. The business of keeping audiences hooked 24 hours a day, 7 days a week, promoted the concept of quantity over quality: yes- terday’s information was irrelevant and could be permanently erased after serving its money-making purpose. -
Remix: the Art and Craft of Endless Hybridization
Journal of Adolescent & Adult Literacy 52(1) September 2008 doi:10.1598/JAAL.52.1.3 © 2008 International Reading Association (pp. 22–33) Remix: The Art and Craft of Endless Hybridization Digital remix provides an Michele Knobel | Colin Lankshear educationally useful lens on culture and cultural Remix means to take cultural artifacts and combine and manipulate them production as well as into new kinds of creative blends. Until recently, it mainly referred to us- ing audio-editing techniques to produce “an alternative mix of a recorded on literacy and literacy song that differed from the original...taking apart the various instruments and education. components that make up a recording and remixing them into something that sounds completely different” (Seggern, n.d., p. 1). Once digital sound became the norm, all manner of music mixing and sampling techniques were applied using different kinds of hardware devices or software on a computer (Hawkins, 2004). Recently, however, remix has been expanded to include music and sound as well as moving and static images taken from films, televi- sion, the Internet, personal archives, and elsewhere. Lessig (2005) argues that digital remix constitutes a contemporary form of writing on the scale of a mass cultural practice and raises issues demanding serious reform of current copyright law. Here we examine remix as a signifi- cant literacy practice. We explore shifts in everyday writing practices using examples of remix and analyze the art and craft of creating remixes to better understand these practices from insider (and outsider) perspectives. We con- sider some conceptual and theoretical relationships between remix, literacy, and literacy education and conclude with a brief discussion of remix within the context of classroom teaching and learning. -
Eduardo De Moura Almeida
UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM EDUARDO DE MOURA ALMEIDA ANIME MUSIC VIDEO (AMV), MULTI E NOVOS LETRAMENTOS: O REMIX NA CULTURA OTAKU CAMPINAS, 2018 EDUARDO DE MOURA ALMEIDA ANIME MUSIC VIDEO (AMV), MULTI E NOVOS LETRAMENTOS: O REMIX NA CULTURA OTAKU Tese de doutorado apresentada ao Instituto de Estudos da Linguagem da Universidade Estadual de Campinas para obtenção do título de Doutor em Linguística Aplicada na área de Linguagem e Educação Orientadora: Profa. Dra. Roxane Helena Rodrigues Rojo Este exemplar corresponde à versão final da Tese defendida pelo aluno Eduardo de Moura Almeida e orientada pela Profa. Dra. Roxane Helena Rodrigues Rojo CAMPINAS, 2018 Agência(s) de fomento e nº(s) de processo(s): FAPESP, 2015/22567-8; FAPESP, 2017/08441-7 Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Estudos da Linguagem Dionary Crispim de Araújo - CRB 8/7171 Almeida, Eduardo de Moura, 1981- AL64a AlmAnime Music Video (AMV), multi e novos letramentos : o remix na cultura otaku / Eduardo de Moura Almeida. – Campinas, SP : [s.n.], 2018. AlmOrientador: Roxane Helena Rodrigues Rojo. AlmTese (doutorado) – Universidade Estadual de Campinas, Instituto de Estudos da Linguagem. Alm1. Remixes. 2. Animação (Cinematografia). 3. Multiletramentos. 4. Cultura popular - Japão. I. Rojo, Roxane Helena Rodrigues. II. Universidade Estadual de Campinas. Instituto de Estudos da Linguagem. III. Título. Informações para Biblioteca Digital Título em outro idioma: Anime Music Video (AMV), multi and new -
Askance Volume VI, Number 5 Whole Number 30
December, 2013 Askance Volume VI, Number 5 Whole Number 30 Edited and published by John Purcell, 3744 Marielene Circle, College Station, TX 77845-3926 Contents © 2013 by John A. Purcell. Contact information: [email protected] Even so, all rights revert to original artists and authors upon publication. Pruf-reder - Garth Spencer. What you have here in your hands (or on screen) is another Mythical Publication. Copies of this fine, semi-quarterly fanzine can be had for The Usual, which means expressed interest, submission and eventual inclusion of articles and artwork, letters of comment, expressed interest, and cold hard cash in the amount of $3.00 USD. Bribes are also accepted. Of course, if you send in locs, articles, and artwork, you just earned a life-time free subscription. Heck of a deal, eh? CONTENTS Bemused Natterings………………………………………………..3 LoneStarCon 3 Assessment Test, by John Purcell…………………………………………………….7 A Complaint to Hanes, by Walt Wentz (as Artemus Ward, the 7th)..……….11 Portfolio: WOOF 2013 covers, Artwork by Valerie Purcell………………………………….13 Figby, By Bill Fischer………………………………………………………19 Fanzine Reviews (sort of)………………………………………..20 Day Trip Report: Weird West Fest 2013………………….21 From the Hinterlands (letters)…………………………………22 Regional Convention Calendar………………………………..29 What’s Next…………………………………………………………….35 linos on pages 25, 26, 30, 34 from “3000 Years Among the Microbes” by Mark Twain (written in 1905) Art credits Steve Stiles – cover Sheryl Birkhead – 2; photo by Valerie Purcell – 3; photo by Guy H. Lillian III – 5; clip art – 7, 26, 28, 29, 32; Brad Foster – 10; image Googled “Hanes” – 11, 12; photo by John Purcell – 21; image Googled “western ruins” – 22; Steve Stiles – 24, 30; Cepheid Variable logo nicked off the Internet – 33; image Googled “Aggiecon” – 35. -
(Mahō Shōjo) Anime
Make-Up!: The Mythic Narrative and Transformation as a Mechanism for Personal and Spiritual Growth in Magical Girl (Mahō Shōjo) Anime by N’Donna Rashi Russell B.A. (Hons.), University of Victoria, 2015 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Pacific and Asian Studies ©N’Donna Russell, 2017 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii SUPERVISORY COMMITTEE Make-Up!: The Mythic Narrative and Transformation as a Mechanism for Personal and Spiritual Growth in Magical Girl (Mahō Shōjo) Anime by N’Donna Rashi Russell B.A (Hons)., University of Victoria, 2015 Supervisory Committee Dr. M. Cody Poulton, Supervisor (Department of Pacific and Asian Studies) Dr. Michael Bodden, Committee Member (Department of Pacific and Asian Studies) iii ABSTRACT Supervisory Committee Dr. M. Cody Poulton (Department of Pacific and Asian Studies) Dr. Michael Bodden (Department of Pacific and Asian Studies) The mahō shōjo or “magical girl”, genre of Japanese animation and manga has maintained a steady, prolific presence for nearly fifty years. Magical Girl series for the most part feature a female protagonist who is between the ages of nine and fourteen - not a little girl but not yet a woman. She is either born with or bestowed upon the ability to transform into a magical alter-ego and must save the world from a clear and present enemy. The magical girl must to work to balance her “normal life” – domestic obligations, educational obligations, and interpersonal relationships – with her duty to protect the world. -
TT16 Conversationalists 51
TABLE TALK 2016 - Conversationalists Sharmila Anandasabapathy, MD ViCe President, Baylor College of MediCine, Global Initiatives VeroniCa R. Chapa ExeCutive DireCtor, Early Matters Donae Cangelosi Chramosta Owner, The Vintage Contessa Sylvie Christophe Cultural AttaChé, French Embassy in the United States—Cultural ServiCes Jo Clem Worldwide Advisor For Employee Development, ApaChe Corporation Amber Cox VP & CMO, Houston Dynamo & Houston Dash SoCCer Katya Dow Legal Program DireCtor, UH Juvenile & Capital AdvocaCy ProjeCt Xandra Eden ExeCutive DireCtor & ChieF Curator, DiverseWorks Amanda K. Edwards Houston City CounCil Member, At-Large Position 4 Lisa Falkenberg Metro Columnist, Houston Chronicle, & 2015 Pulitzer Prize Winner Stacey Gillman Wimbish President, Gillman Companies Rosa González-DéCou Multilingual Programs OutreaCh Worker, HISD Nikki Greenspan Pilot, United Airlines Joy Hall Marine Training DireCtor, ConoCoPhillips Roberta Harris Artist & Owner, Roberta Harris Studio Laura Carter Higley JustiCe, 1st Court of Appeals Andrea Johnson DireCtor, Kane Russell Coleman & Logan PC Lacy M. Johnson Writer; Author oF The Other Side Sippi Khurana, MD Owner & PhysiCian, Allergy & Rheumatology Specialists oF Houston Farah Killidar CEO, World AfFairs Council of Greater Houston Shannon Langrand Founder & CEO, Langrand & Co. Leah Lax Writer; Author oF Uncovered DeneiCe Leigh Owner & Chairman, Anime Matsuri Convention Sarah Luna, PhD PostdoCtoral Fellow, UH WGSS Program Lynne MCCabe DireCtor, She Works Flexible Gallery Teddy MCDavid, EdD President, -
Volume 4, Issue 2
Golden Grove Vol. 4 Issue 2 Contents Letter from the Editor 3 Story Prompt 3 Poetry 4 Story 9 Upcoming Books from Misty 19 List of Fairs and Conventions 20 Submission Instructions 25 2 Golden Grove Vol. 4 Issue 2 Letter from the Editor Welcome to another issue of Golden Grove. Not much has happened to me in the last few months, mostly work and in the last few weeks yard work. I did sign my first part lease on a horse, which is exciting for me, and the start of one of my long time dreams, to own my own horse. I’ve also been reorganizing my craft room. Mostly this means I put up a bunch of shelves and moved bags off my table and onto the shelves. One thing that has been consuming some of my time recently is a drawing show on YouTube called Pub Draw. It’s as much fun to watch as it is to draw along. For those of you into comics it’s hosted by Babs Tarr and she is teaching a bunch of voice actors to draw, or she’s herding cats. I haven’t actually figured that part out yet. Usually they draw a specific character in each episode, but the skills can be used draw just about any sort of humanoid character –sadly no gryphons or other types yet. Anyway, if you’re interested in drawing maybe check it out and if you draw some of your own characters, send your drawings to one of the ezines out there.