Allan E. Alcorn
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Alive Dead Media 2020: Tracker and Chip Music
Alive Dead Media 2020: Tracker and Chip Music 1st day introduction, Markku Reunanen Pics gracefully provided by Wikimedia Commons Arrangements See MyCourses for more details, but for now: ● Whoami, who’s here? ● Schedule of this week: history, MilkyTracker with Yzi, LSDJ with Miranda Kastemaa, holiday, final concert ● 80% attendance, two tunes for the final concert and a little jingle today ● Questions about the practicalities? History of Home Computer and Game Console Audio ● This is a vast subject: hundreds of different devices and chips starting from the late 1970s ● In the 1990s starts to become increasingly standardized (or boring, if you may :) so we’ll focus on earlier technology ● Not just hardware: how did you compose music with contemporary tools? ● Let’s hear a lot of examples – not using Zoom audio The Home Computer Boom ● At its peak in the 1980s, but started somewhat earlier with Apple II (1977), TRS-80 (1977) and Commodore PET (1977) ● Affordable microprocessors, such as Zilog Z80, MOS 6502 and the Motorola 6800 series ● In the 1980s the market grew rapidly with Commodore VIC-20 (1980) and C-64 (1982), Sinclair ZX Spectrum (1982), MSX compatibles (1983) … and many more! ● From enthusiast gadgets to game machines Enter the 16-bits ● Improving processors: Motorola 68000 series, Intel 8088/8086/80286 ● More colors, more speed, more memory, from tapes to floppies, mouse(!) ● Atari ST (1984), Commodore Amiga (1985), Apple Macintosh (1984) ● IBM PC and compatibles (1981) popular in the US, improving game capability Not Just Computers ● The same technology powered game consoles of the time ● Notable early ones: Fairchild Channel F (1976), Atari VCS aka. -
Touchstones of Popular Culture Among Contemporary College Students in the United States
Minnesota State University Moorhead RED: a Repository of Digital Collections Dissertations, Theses, and Projects Graduate Studies Spring 5-17-2019 Touchstones of Popular Culture Among Contemporary College Students in the United States Margaret Thoemke [email protected] Follow this and additional works at: https://red.mnstate.edu/thesis Part of the Higher Education and Teaching Commons Recommended Citation Thoemke, Margaret, "Touchstones of Popular Culture Among Contemporary College Students in the United States" (2019). Dissertations, Theses, and Projects. 167. https://red.mnstate.edu/thesis/167 This Thesis (699 registration) is brought to you for free and open access by the Graduate Studies at RED: a Repository of Digital Collections. It has been accepted for inclusion in Dissertations, Theses, and Projects by an authorized administrator of RED: a Repository of Digital Collections. For more information, please contact [email protected]. Touchstones of Popular Culture Among Contemporary College Students in the United States A Thesis Presented to The Graduate Faculty of Minnesota State University Moorhead By Margaret Elizabeth Thoemke In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Teaching English as a Second Language May 2019 Moorhead, Minnesota iii Copyright 2019 Margaret Elizabeth Thoemke iv Dedication I would like to dedicate this thesis to my three most favorite people in the world. To my mother, Heather Flaherty, for always supporting me and guiding me to where I am today. To my husband, Jake Thoemke, for pushing me to be the best I can be and reminding me that I’m okay. Lastly, to my son, Liam, who is my biggest fan and my reason to be the best person I can be. -
Crowdfunding Is Hot
FEBRUARY 2017 Volume 33 Issue 02 DIGEST Mad Marketing Maven HOW MADMAN MUNTZ BUILT 3 EMPIRES Army Salutes Soldier’s Invention SAVING TIME AND MONEY Big Help for Tiny Babies BUSINESS MODEL: GIVING BACK IT DOESN’T TAKE AN EINSTEIN TO KNOW ... CROWDFUNDING IS HOT $5.95 FULTON, MO FULTON, PERMIT 38 PERMIT US POSTAGE PAID POSTAGE US PRSRT STANDARD PRSRT EDITOR’S NOTE Inventors DIGEST EDITOR-IN-CHIEF REID CREAGER ART DIRECTOR CARRIE BOYD New Website Adds CONTRIBUTORS STAFF SGT. ROBERT R. ADAMS To the Conversation STEVE BRACHMANN DON DEBELAK For many of us, there’s nothing like the traditional magazine experience—hold- JACK LANDER ing the original, glossy physical product in your hands; turning the paper pages; JEREMY LOSAW tearing out portions and/or pages to display or save; and having a flexible, por- GENE QUINN table keepsake that’s never susceptible to electronic or battery failure. JOHN G. RAU A publication that provides both this and a strong internet presence is the best EDIE TOLCHIN of both worlds. With that in mind, Inventors Digest recently updated its website GRAPHIC DESIGNER (inventorsdigest.com). We wanted to make our online content more attractive and JORGE ZEGARRA streamlined, with the goal of inviting even more readers. There’s also more content than ever before; we’re loading more current articles from each issue and going INVENTORS DIGEST LLC back through the archives to pull older ones. This is part of a larger mission: to make PUBLISHER the website a central hub for the Inventors LOUIS FOREMAN Digest community and encourage readers to become active participants in national VICE PRESIDENT, INTERACTIVE AND WEB conversations involving invented-related MATT SPANGARD subjects. -
Michael Tierney
Sample file Sample file by Michael Tierney Authorized by Edgar Rice Burroughs, Inc. Sample file Copyright © 2018 First Printing, 2018 Mother Was A Lovely Beast cover Copyright © 1974 Philip Jose Farmer The Recoverings Alternate Timeline Dust-jacket design for Tarzan and the Castaways, along with the coloring of the Frank Frazetta cover drawing is Copyright © 2016 Phil Normand & Recoverings. All other artwork Copyright © Edgar Rice Burroughs, Inc. All Text Copyright © Michael Tierney Little Rocket Publications is a Trademark™ of Tierney Incorporated Trademarks Tarzan®, Tarzan of the Apes™, Lord of the Jungle® and Edgar Rice Burroughs® owned by Edgar Rice Burroughs, Inc. and Used By Permission All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, without permission in writing from the publisher. Every effort has been made not to make use of proprietary or Copyrighted material without permission. Any mention of actual commercial products in this book does not constitute an endorsement. Printed in the United States by Chenault & Gray Publishing. First Unabridged Edition Edited by Rus Wornom Cover Design by Peter Bradley and Michael Tierney Cover Art by Frank Frazetta Layout and Design: Michael Tierney, Peter Bradley and Mark Sandy Library of Congress Cataloging-in-Publication Data Michael Tierney Edgar Rice Burroughs 100 Year Art Chronology, Vol. 2 The Books: Literature with Sharp Cutting -
The Tarzan Series of Edgar Rice Burroughs
I The Tarzan Series of Edgar Rice Burroughs: Lost Races and Racism in American Popular Culture James R. Nesteby Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree in Doctor of Philosophy August 1978 Approved: © 1978 JAMES RONALD NESTEBY ALL RIGHTS RESERVED ¡ ¡ in Abstract The Tarzan series of Edgar Rice Burroughs (1875-1950), beginning with the All-Story serialization in 1912 of Tarzan of the Apes (1914 book), reveals deepseated racism in the popular imagination of early twentieth-century American culture. The fictional fantasies of lost races like that ruled by La of Opar (or Atlantis) are interwoven with the realities of racism, particularly toward Afro-Americans and black Africans. In analyzing popular culture, Stith Thompson's Motif-Index of Folk-Literature (1932) and John G. Cawelti's Adventure, Mystery, and Romance (1976) are utilized for their indexing and formula concepts. The groundwork for examining explanations of American culture which occur in Burroughs' science fantasies about Tarzan is provided by Ray R. Browne, publisher of The Journal of Popular Culture and The Journal of American Culture, and by Gene Wise, author of American Historical Explanations (1973). The lost race tradition and its relationship to racism in American popular fiction is explored through the inner earth motif popularized by John Cleves Symmes' Symzonla: A Voyage of Discovery (1820) and Edgar Allan Poe's The narrative of A. Gordon Pym (1838); Burroughs frequently uses the motif in his perennially popular romances of adventure which have made Tarzan of the Apes (Lord Greystoke) an ubiquitous feature of American culture. -
Winona Daily News Winona City Newspapers
Winona State University OpenRiver Winona Daily News Winona City Newspapers 2-24-1969 Winona Daily News Winona Daily News Follow this and additional works at: https://openriver.winona.edu/winonadailynews Recommended Citation Winona Daily News, "Winona Daily News" (1969). Winona Daily News. 843. https://openriver.winona.edu/winonadailynews/843 This Newspaper is brought to you for free and open access by the Winona City Newspapers at OpenRiver. It has been accepted for inclusion in Winona Daily News by an authorized administrator of OpenRiver. For more information, please contact [email protected]. Continued Cloudy Read By More WifrY Occasional Than 90,000 Snow, Drizzle People Every Day Surgery on Ike Said Successful' PROMISES 70 CONSULT EUROPEAN ALLIES Reported 'Resting Nixon: Will Talk With Soviets Comfortably as BRUSSELS (AP) - President;.concern to the Atlantic allies: because we recognize that the mined to listen with a new at- Nixon had discussed with Bel- Can Be Expected' Nixon told America's European the new dispute , between the chances for successful negotia- tentiveness to its NATO part- gian officials the latest chill in WASHINGTON (AP) - For- Earlier thus morning a team allies today that he later will British and French govern- tions depend on our unity." ners," he declared, "not only British-French relations, he re- mer President Dwight D. Eisen- of Army doctors had pro- "enter into negotiations with the ments, and the possibility of an He went on- because they have a right to be plied: "I don't have any infor- nounced the 2 hour, 20 minute Soviet Union on a wide range ef East-West confrontation in Ber- ea ut b se we want nation on that." ' hower is "resting as comfortably "I realize that this course has * fd j ffBdl as can be expected," Walter operation fo>r removal of an in- issues," and he promised to con- lin. -
Blue Screen Matting
Blue Screen Matting Alvy Ray Smith and James F. Blinn Microsoft Corporation ABSTRACT allowed to pass through and illuminate those parts desired but is blocked everywhere else. A holdout matte is the complement: It is A classical problem of imaging—the matting problem—is separa- opaque in the parts of interest and transparent elsewhere. In both tion of a non-rectangular foreground image from a (usually) rectan- cases, partially dense regions allow some light through. Hence gular background image—for example, in a film frame, extraction of some of the color film image that is being matted is partially illu- an actor from a background scene to allow substitution of a differ- minated. ent background. Of the several attacks on this difficult and persis- The use of an alpha channel to form arbitrary compositions of tent problem, we discuss here only the special case of separating a images is well-known in computer graphics [9]. An alpha channel desired foreground image from a background of a constant, or al- gives shape and transparency to a color image. It is the digital most constant, backing color. This backing color has often been equivalent of a holdout matte—a grayscale channel that has full blue, so the problem, and its solution, have been called blue screen value pixels (for opaque) at corresponding pixels in the color image matting. However, other backing colors, such as yellow or (in- that are to be seen, and zero valued pixels (for transparent) at creasingly) green, have also been used, so we often generalize to corresponding color pixels not to be seen. -
Muntz, Earl 1932
Earl “Madman” Muntz Biography Earl “Madman” Muntz - Class of 1932 (did not actually graduate), - b. January 3, 1914 d. June 21, 1987 Earl “Madman” Muntz! The very name conjures up memories, for many, of one of the wildest and craziest entrepreneurs of the 20th century. First of the loud, nuts, in-your-face used car salesmen, in the 1940s his billboards blanketed Southern California screaming, “I wanna give ‘em away, but Mrs. Muntz won’t let me - SHE’S CRAZY!” and “I buy ‘em retail, sell ‘em wholesale - IT'S MORE FUN THAT WAY!” These billboards, plus a steady bombardment of radio ads, helped Muntz sell $76 million worth of automobiles in 1947, when a million dollars was real money. And his logo -- a caricature of Muntz wearing a black Napoleon hat and red BVDs -- seemed to be everywhere. He produced and sold Muntz TVs, cheap but functional sets that competed successfully in the marketplace with RCA, Philco and other electronic giants of the time. And his TV business made him a second multimillion dollar fortune. He produced the first American sports car -- the Muntz Jet. A beautiful, well-crafted, speedy car that was a precursor of Chevrolet's Corvette, the Muntz Jet was an aesthetic and mechanical success, but Muntz’s first financial disappointment. The Jets sold for $5,500 but they cost $6,500 to produce, and this at a time (the early 1950s) when a new Cadillac could be had for $3,200. Earl Muntz’s third fortune came in the 1960s when he invented the four-track car stereo, becoming the first major player in the soon-to-be-huge car stereo market. -
Alpha and the History of Digital Compositing
Alpha and the History of Digital Compositing Technical Memo 7 Alvy Ray Smith August 15, 1995 Abstract The history of digital image compositing—other than simple digital imple- mentation of known film art—is essentially the history of the alpha channel. Dis- tinctions are drawn between digital printing and digital compositing, between matte creation and matte usage, and between (binary) masking and (subtle) mat- ting. The history of the integral alpha channel and premultiplied alpha ideas are pre- sented and their importance in the development of digital compositing in its cur- rent modern form is made clear. Basic Definitions Digital compositing is often confused with several related technologies. Here we distinguish compositing from printing and matte creation—eg, blue-screen matting. Printing v Compositing Digital film printing is the transfer, under digital computer control, of an im- age stored in digital form to standard chemical, analog movie film. It requires a sophisticated understanding of film characteristics, light source characteristics, precision film movements, film sizes, filter characteristics, precision scanning de- vices, and digital computer control. We had to solve all these for the Lucasfilm laser-based digital film printer—that happened to be a digital film input scanner too. My colleague David DiFrancesco was honored by the Academy of Motion Picture Art and Sciences last year with a technical award for his achievement on the scanning side at Lucasfilm (along with Gary Starkweather). Also honored was Gary Demos for his CRT-based digital film scanner (along with Dan Cam- eron). Digital printing is the generalization of this technology to other media, such as video and paper. -
Valuation and Start-Up Strategies Class News
290T: The Business of Software: Valuation and Start-up Strategies Professor Kurt Keutzer Fall 2003 EECS [email protected] 1 Class News • Sorry, can’t make my office hour this week 3-4PM Tuesday, I’ll move it to Wed 2-3PM 2 landay 1 Valuation • The key common element between these: Start-up/ Entry Valuation Exit 3 Valuable Business Skills 1. The ability to predict the future 2. The ability to judge people 3. The ability to identify the value (and its direction arrow) of a technology, product, company, market or industry 4. The ability to develop a valuable technology, product, company, market or industry 4 landay 2 So, let’s get started! How do we value these? • A pen? • The cost to replace it • A diamond? • Table look up on size, cut, index of refraction, color (the 4C’s) • An oil well? • The value of seven years production • A year of your work life • Comparable salaries • Opportunity cost!!! 5 So, let’s get started! How do we value these? • A house? • Market comparison (comparables) • Cost of land and construction • Income: • Estimated_rental_income – mortgage - taxes – maintenance * 12 * 30 • Includes: risk, maintenance • What other factors could affect the sale? • Unique features of the property (house provides access to other valuable property) • Disposition of buyers • Disposition of sellers 6 landay 3 Buyers and Sellers • How many sellers have a comparable product? • Disposition of seller • Doesn’t want to sell • Willing to sell, but in no hurry • In the mood to sell • Anxious to sell • How many buyers are there? • Disposition of the buyer • Disinterested • Interested, but passively so • Actively interested • MUST HAVE! 7 Why do we need to value start-ups? • To raise capital • Invested capital buys some portion of company • Need to value start-up to determine how much money will buy • For example: myNewStartup, Inc. -
Sagawkit Acceptancespeechtran
Screen Actors Guild Awards Acceptance Speech Transcripts TABLE OF CONTENTS INAUGURAL SCREEN ACTORS GUILD AWARDS ...........................................................................................2 2ND ANNUAL SCREEN ACTORS GUILD AWARDS .........................................................................................6 3RD ANNUAL SCREEN ACTORS GUILD AWARDS ...................................................................................... 11 4TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 15 5TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 20 6TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 24 7TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 28 8TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 32 9TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 36 10TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 42 11TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 48 12TH ANNUAL SCREEN ACTORS GUILD AWARDS .................................................................................... -
Richer Worlds for Next Gen Games: Data Amplification Techniques Survey
Richer Worlds for Next Gen Games: Data Amplification Techniques Survey Natalya Tatarchuk 3D Application Research Group ATI Research, Inc. Overview • Defining the problem and motivation • Data Amplification • Procedural data generation • Geometry amplification • Data streaming • Data simplification • Conclusion Overview • Defining the problem and motivation • Data Amplification • Procedural data generation • Geometry amplification • Data streaming • Data simplification • Conclusion Games and Current Hardware • Games currently are CPU-limited – Tuned until they are not GPU-limited – CPU performance increases have slowed down (clock speed hit brick walls) – Multicore is used in limited ways Trends in Games Today • Market demands larger, more complex game worlds – Details, details, details • Existing games already see increase in game data – Data storage progression: Floppies → CDs → DVDs – HALO2.0 - 4.2GB – HD-DVD/Blueray → 20GB [David Blythe, MS Meltdown 2005] Motivation • GPU performance increased tremendously over the years – Parallel architecture allows consumption of ever increasing amounts of data and fast processing – Major architectural changes happen roughly every 2 years – 2x speed increase also every 2 years – Current games tend to be • Arithmetic limited (shader limited) • Memory limited • GPUs can consume ever increasing amounts of data, producing high fidelity images – GPU-based geometry generation is on the horizon – Next gen consoles Why Not Just Author A Ton of Assets? • Rising development cost – Content creation is the bottleneck