The Educators' Handbook to Interactive Videodisc. INSTITUTION Association for Educational Communications and Technology, Washingtem, D.C
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Blackwire C310 USB Headset Product Sheet
High-performance, entry-level price Comfortable and durable choice for PC calls and multimedia More UC headset for your UC dollar Blackwire® 300 Series The best-featured headset you never thought your budget could afford Blackwire 300 Series More headset for your UC dollar. Enter UC with the best-featured headset you never thought your budget could afford. Blackwire 300 Series USB headsets are a simple-to-use, comfortable, and durable choice for conference calls, Web-based training, and PC multimedia applications. Plus, they’re priced right, easy to deploy, and offer a simple-to-upgrade UC solution that IT can roll out easily and rely on. SIMPLICITY MEETS DURABLE DESIGN BASE MODELS FEATURE VALUE-ADD MODELS FEATURE LEATHERETTE FOAM EAR CUSHIONS EAR CUSHIONS THAT FOLD FLAT Durable, metal • Two wearing styles available: hi-fi stereo (C320/325) headband or monaural (C310/315) design • Blackwire 310/320 are the base models featuring basic foam ear cushions. • The Blackwire 315/325 are the value-add models that feature leatherette ear cushions that fold flat for easy portability. Blackwire 310 Blackwire 320 Blackwire 315 Blackwire 325 • Lightweight metal headband offers durability and (monaural, foam) (stereo, foam) (monaural, foldable) (stereo, foldable) a customizable, comfortable fit • Intuitive inline controls to answer/end calls, control volume, and mute Answer/end/mute/ Foldable, leatherette vol +/- controls ear cusions • Smartly placed indicator lights and helpful audio alerts give user call, mute, and volume status Noise-canceling microphone -
Mikhail Baryshnikov Exhibitions
Mikhail Baryshnikov Aside from being renown as a dancer, Mikhail Baryshnikov has practiced photography for over 30 years and is now also known for his dance photography. His photographs capture the emotions of dance, they are full of vitality, rich colour, movement and grace. He effectively blurs movement portraying the dancers as somewhat alien or angelic. Despite having retired as a dancer himself, Baryshnikov explains that he is still a dancer in his mind and continues dancing through the images he captures. His process of photography involves being on stage with dancers. This closeness gives the photographs intimacy and insight; Baryshnikov’s lens is near enough to the movement to reveal its subtlety. Exhibitions: 2019 Looking for the Dance, Galleria D’Arte Contini, Venice, Italy 2017 Mikhail Baryshnikov, from the Dance series, Manege Museum, Moscow, Russia 2015 Dancing Away, Galerie 11 Columbia, Monte Carlo, Monaco Dancing Away, ContiniArt UK, London, United Kingdom Piera Anna Franini, Baryshnikov: adesso ballo con la macchina fotografica, in “Il Giornale”, Italy 2014 Dance This Way, Contini Galleria D’Arte Contini, Cortina D’Ampezzo, Italy Dubai, R29 Bluewaters Boulevard, Bluewaters Island. Forte dei Marmi, Via Carducci 14, 55047, Lucca, Italy. Tel. +971 4 232 2071 +39 0584 300290 www.oblongcontemporary.com Dance This Way, Space SBH, St. Barts, French West Indies Mikhail Baryshnikov, Dancing Away, Contini Art UK, ed. Tecnostampa, Loreto, Italy 2013 Dance This Way, Galleria D’Arte Contini, Venice, Italy Giovanna Bisignani, Mikhail Baryshnikov immortala la sua danza a Venezia, in “Il Tempo”, Italy, 6 July Mikhail Baryshnikov, Dance this Way, Galleria d’Arte Contini, ed. -
The San Francisco Bay Area, California
The San Francisco Bay Area, Can disaster be a good thing for the arts? In the California San Francisco Bay Area, the answer is a qualified “yes.” A terrible earthquake has shaken loose mil- lions of dollars for the arts, while urban sprawl has boosted the development of arts centers right in the communities where people live. After the Loma Prieta earthquake struck in 1989, many key institutions were declared unsafe and had to be closed, fixed and primped. Here’s what reopened in the past five years alone: American Conservatory Theatre (ACT), the city’s major repertory theater, for $27 million; the War Memorial Opera House, home of the San Francisco Opera and Ballet, for $88 million; and on the fine arts front, the California Palace of the Legion of Honor, for $40 million; and the Cantor Center for the Visual Arts at Stanford University, for $37 million. Another $130 million is being raised to rebuild the seismically crippled M.H. de Young Memorial Museum, and at least $30 million is being sought to repair the Berkeley Art Museum. Within San Francisco itself, a vital visual arts center has been forged just within the last five years with the opening of the new $62 million San Francisco Museum of Modern Art and the Yerba Buena Center for the Arts. Meanwhile the Jewish Museum, the Asian Art Museum, the Mexican Museum and a new African-American cultural center all plan to move to seismically safe buildings in the area in the next two years. Art galleries, on the other hand, limp along compared with those in Los Angeles or New York. -
YVONNE BLAKE Costume Designer
(3/18/15) YVONNE BLAKE Costume Designer FILM & TELEVISION DIRECTOR COMPANIES CAST “THERE BE DRAGONS” Roland Joffe Immi Pictures Wes Bentley Golshifteh Farahani Unax Ugalde “GOYA’S GHOST” Milos Forman The Saul Zaentz Co. Natalie Portman Nomination: Satellite Award Stellan Skarsgard “TIRANTE EL BLANCO” Vicente Aranda Carolina Films (Spain) Giancaro Giannini Future Films (UK) Jane Asher Victoria Abril Leonor Watling Casper Zafer “THE BRIDGE OF SAN LUIS REY Mary McGuckian Pembridge Pictures Robert De Niro Winner: Goya Award for Best Costume Design Kanzaman S.A. Kathy Bates Harvey Keitel “THE RECKONING” Paul McGuigan Renaissance Films Willem Dafoe Paramount Classics Paul Bettany Caroline Wood “CARMEN” Vicente Aranda Star Line Paz Vega Winner: Goya Award for Best Costume Design Leonardo Sbaraglia “JAMES DEAN” Mark Rydell Concourse Prods. James Franco Nomination: Emmy Award for Best Costume Design TNT Michael Moriarty “GAUDI AFTERNOON” Susan Seidelman Lola Films Judy Davis Marcia Gay Harden Juliette Lewis "PRESENCE OF MIND" Antonio Aloy Presence of Mind, LLC. Lauren Bacall Sadie Frost Harvey Keitel "WHAT DREAMS MAY COME" Vincent Ward Interscope/Polygram Robin Williams Barnet Bain Annabella Sciorra Stephen Simon Cuba Gooding, Jr. "CRIME OF THE CENTURY" Mark Rydell HBO Stephen Rea Barbara Broccoli Isabella Rossellini "LOOKING FOR RICHARD" Al Pacino Fox Searchlight Al Pacino (Battle sequences) Kevin Spacey "COMPANY BUSINESS" Nicholas Myer Pathe Screen Ent. Gene Hackman Mikhail Baryshnikov (cont.) SANDRA MARSH & ASSOCIATES Tel: (310) 285-0303 Fax: -
The Reinvention of Baryshnikov 96
Daily Telegraph Aug 10 1996 He was the greatest dancer in the world. Now at 48 he is preparing to return to the London stage. Ismene Brown met him in New York The reinvention of Baryshnikov Photo Ferdinando Scianna/Magnum "Just to watch the Kirov company was like going to church, having a holy experience... when life was miserable the magic of dance was overwhelming" THERE wasn’t a pair of white ballet tights discarded in the gutter as we passed but there might as well have been - all the other symbols were in place. Coming into New York, there were skyscrapers ahead, and to my right a gigantic municipal cemetery, acre upon acre of tombstones. Even the building in which Mikhail Baryshnikov has his office is the Time-Life tower. The passage of time is always cruel to dancers, but never crueller than to the skyscrapers. All dancers know that their career is fugitive, but those who soar above the others have further to fall, and moreover they are flattered into believing that they have a special invincibility not accorded to lesser performers. Who dares tell them when time is up? Or is there another way? Up on the sixth floor, in a hushed, pale place more art gallery than office, a slight, lined man with blue headlights for eyes and a flat, warning voice walked into the room to meet me. “He was the greatest male dancer on the planet. His talent was beyond superlatives. He vaulted into the air with no apparent preparation; he was literally a motion picture. -
19.089-Poly Apollo 11 Factsheet R4v1
APOLLO 11’S 50th ANNIVERSARY POLY CELEBRATES THE WORLD’S MOST ICONIC TRANSMISSION FROM SPACE, “ONE SMALL STEP FOR MAN…” When the world’s powers were in a race to Did You Know? space in the 1960s, NASA approached Plantronics Those famous words, “one small step for man, one giant (now Poly) with a seemingly impossible task: leap for mankind” were spoken through a Plantronics create a lightweight communication headset that headset, which was produced in just 11 days. would allow Astronauts to communicate with Plantronics was founded by two pilots who wanted to create Mission Control from the Earth to the Moon, and a lighter headset for use by pilots on long-haul ights. That back again. innovation set the stage for designing headsets for one of the Our response resulted in a partnership with NASA longest ights at the time, from earth to the moon—a hefty that spanned more than 25 missions into space, 238,900 miles. stretching the limits of human exploration. NASA chose Santa Cruz-based Plantronics because of their ability to produce light-weight headsets that were also very Now, 50 years later, Poly is celebrating the historic reliable. The headsets were designed to t into the lunar landing while continuing to press ahead with Communications Carrier or “Snoopy Caps” that the Astronauts the same dedication and focus on creating powerful wore underneath their helmets. connections that unify people a world over. Our Model MS50 aviation headset (pictured) was rst released by Plantronics in 1962. The same technology was used in the astronaut’s headsets as well as the headsets used within mission control facilities around the globe. -
Pulsar 590 Series
PULSAR 590 SERIES Plantronics Pulsar™ 590 Series Stereo Bluetooth® Headsets Ultimate wireless freedom—phone calls and stereo music in one headset Enjoy high fi delity stereo sound, voice clarity, and comfort—all without wires! The Plantronics Pulsar 590 Series Bluetooth Stereo Headsets seamlessly switch between your Bluetooth mobile phone and audio devices, so you’ll never miss a call while listening wirelessly to your favorite music or movies. The foldable headset design makes a convenient and portable package, perfect for anyone on the go. • High fi delity stereo sound, superior audio performance • Freedom to roam up to 33 feet from your Bluetooth device • Works with multiple Bluetooth devices: seamlessly switch between calls and music with multipoint technology • Up to 12 hours talk time and up to 10 hours audio listening time • Telescoping voice tube for clear calls • Foldable headset design for convenient travel and compact storage • Adjustable headband and pivoting pillow-soft ear cushions for superior fi t and wearing comfort • Dedicated buttons allow call and music control functions directly from the headset • Convenient desktop charging stand to charge and store your headset Turn your audio device into Stereo Bluetooth The Universal Adapter included with the Pulsar 590A plugs directly into most 3.5 mm audio devices, so you can enjoy Bluetooth stereo listening on laptops, PCs, PDAs, TVs, MP3 and DVD players, and home >>> >> Pulsar 590A shown in Desktop Charging Stand with Universal Adapter entertainment systems. PULSAR 590 SERIES -
RDA -- Content, Media, and Carrier Type Values for Various Types Of
RDA -- Content, Media, and Carrier Type Values for Various Types of Resources 336 (rdacontent) 337 (rdamedia) 338 (rdacarrier) Type of resource $a $b $a $b $a $b Atlas cartographic image cri unmediated n volume nc Book (regular or large print) text txt unmediated n volume nc Book (braille) tactile text txt unmediated n volume nc Book on audiocassette spoken word spw audio s audiocassette ss Book on CD spoken word spw audio s audio disc sd Book on MP3 spoken word spw audio s audio disc sd CD-ROM with text (e.g., PDF files) text txt computer c computer disc cd Digital image still image sti computer c online resource cr Downloadable audio book (e-audio) spoken word spw computer c online resource cr Downloadable electronic book (e-book) text txt computer c online resource cr Downloadable video (e-video) two-dimensional moving image tdi computer c online resource cr DVD or Blu-ray disc two-dimensional moving image tdi video v videodisc vd DVD or Blu-ray disc (3-D movie) three-dimensional moving image tdm video v videodisc vd Graphic novel text, still image txt, sti unmediated n volume nc Map cartographic image cri unmediated n sheet nb Map (online) cartographic image cri computer c online resource cr Microfiche text txt microform h microfiche he Microfilm text txt microform h microform reel hd Music audiocassette performed music prm audio s audiocassette ss Music CD performed music prm audio s audio disc sd Music score notated music ntm unmediated n volume nc Music (streaming) performed music prm computer c online resource cr Online PDF text txt computer c online resource cr Online serial text txt computer c online resource cr Playaway (book) spoken word spw audio s other sz Playaway (music) performed music prm audio s other sz Playaway View two-dimensional moving image tdi video v other vz VHS tape two-dimensional moving image tdi video v videocassette vf Website (text, maps, photos) text, cartographic image, still image txt, cri, sti computer c online resource cr Page 1 of 1 4/13/2013 (Cathy Lamoureaux -- Carnegie Library of Pittsburgh). -
Printable Bio / Resume
BARBARA MINKUS - BIOGRAPHY Barbara Minkus began show business in Julius Monk's New York review Bits and Pieces. She then went on to receive rave reviews touring as Fanny Brice in Funny Girl throughout the United States. She was the original Lucy in the recording and Off-Broadway production of You're A Good Man Charlie Brown, and continued her Broadway success in The Education of Hyman Kaplan, directed by the great George Abbott. On television, she was a regular for six seasons of Love American Style and played Gittle the Witch in ABC's Curiosity Shop. She made many appearances on The Tonight Show and a record twenty times on The Merv Griffin Show. Barbara has numerous film and voice over credits, including playing the voice of Ms Pacman in the ABC cartoon series Pac Man. After taking time out to raise her family, Barbara returned to the theater at the Santa Monica Playhouse in Funny You Don't Look Like a Grandmother, and went on to star there as Molly Picon in Picon Pie, a role she helped research. She then reprised Molly Picon Off-Broadway. Barbara Minkus starred in Los Angeles and Florida as Jennie Grossinger in Stephen Cole's delightful musical Saturday Night at Grossinger's. Barbara presented From This Moment On – Minkus Sings Porter at The American Jewish University in Los Angeles and returned to AJU to present The Songs Of Irving Berlin. She played Miss Lynch in Grease at the Muni Theatre in St. Louis, and came back to The Muni and Starlight Theater in Kansas City, to play Yente in Fiddler on the Roof. -
"Think It Through": an Interactive Videodisc for the Hearing Impaired
"THINK IT THROUGH": AN INTERACTIVE VIDEODISC FOR THE HEARING IMPAIRED Casey Garhart Stone and Gwen C. Nugent Media Development Project for the Hearing Impaired Lincoln, Neb. disc player with an external microcomputer. In this way the realistic, high quality visuals of the videodisc could join with the memory and branching capabili ties of the computer to provide the hearing impaired with an interactive and individualized visual com munication medium. The project used an MCA DiscoVision 7820 video disc player and a Radio Shack TRS-80 microcomput er to achieve this union of technologies. An IEEE port, a standard feature of the 7820 player, allows easy access for a two-way interface between the videodisc and the computer. Basically, the computer can be programmed to operate the player, and the player can indicate to the computer when it has exe Casey G. Stone Gwen C. Nugent cuted one command and is ready for the next. Unfortunately, this interface requires two moni tors because of the incompatibility of the two video The feasibility of interfacing a videodisc player signals. One monitor displays the videodisc picture, with an external microcomputer is discussed. while the other displays the computer graphics. For a young audience, and owing to the complex nature of From 1978 through 1980, the Media Development the proposed disc, it was determined that the double Project for the Hearing Impaired (MDPHI) at the monitor approach would be ill-advised, and there University of Nebraska worked under a mandate fore a prototype "black box" interface was pur from the Office of Special Education (formerly the chased from the Nebraska Videodisc Group at the Bureau of Education for the Handicapped) to dis Nebraska Educational Television Network. -
Ira Gershwin
Late Night Jazz – Ira Gershwin Samstag, 15. September 2018 22.05 – 24.00 SRF 2 Kultur Der ältere Bruder des Jahrhundertkomponisten George Gershwin (1898 – 1937) verschwindet hinter dem Genie des jüngeren Gershwin zuweilen etwas. Dabei lieferte er kongeniale Texte zu George Gershwin’s Melodien, zum Beispiel für die Oper «Porgy and Bess». Und nach dem frühen Tod des Bruders arbeitete Ira noch fast fünfzig Jahre weiter. Er schrieb Songtexte zu Melodien von Harold Arlen, Jerome Kern und Kurt Weill, die von Stars wie Barbra Streisand oder Frank Sinatra gesungen wurden. Redaktion: Beat Blaser Moderation: Annina Salis Sonny Stitt - Verve Jazz Masters 50 (1959) Label: Verve Track 01: I Got Rhythm Judy Garland - A Star Is Born (1954) Label: Columbia Track 03: Gotta Have Me Go with You Benny Goodman Sextet - Slipped Disc 1945 – 1946 (1945) Label: CBS Track 12: Liza Cab Calloway and His Orchestra - 1942-1947 (1945) Label: Classics Records Track 07: All at Once Ira Gershwin & Kurt Weill - Tryout. A series of private rehearsal recordings (1945) Label: DRG Track 07: Manhattan (Indian Song) Oscar Peterson Trio - The Gershwin Songbooks (1952) Label: Verve Track 06: Oh, Lady Be Good Ella Fitzgerald - Get happy! (1959) Label: Verve Track 02: Cheerful Little Earful Artie Shaw - In the Beginning (1936) Label: HEP Records Track 03: I Used to Be Above Love Stan Getz - West Coast Jazz (1955) Label: Verve Track 08: Of Thee I Sing Judy Garland - A star is born (1954) Label: Columbia Track 16: Here's What I'm Here For The Four Freshmen - The Complete Capitol Four -
Videodisc Update '77
Journal of Applied Communications Volume 60 Issue 4 Article 5 Videodisc Update '77 R. Kent Wood Follow this and additional works at: https://newprairiepress.org/jac This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. Recommended Citation Wood, R. Kent (1977) "Videodisc Update '77," Journal of Applied Communications: Vol. 60: Iss. 4. https://doi.org/10.4148/1051-0834.1935 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Journal of Applied Communications by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Videodisc Update '77 Abstract If it were proposed that you were to be told when, on what date, and at what minute you would be allowed to read a research report or a novel, you would be angered and feel that was entirely stifling of your rights and creative efforts. This article is available in Journal of Applied Communications: https://newprairiepress.org/jac/vol60/iss4/5 Wood: Videodisc Update '77 Videodisc Update '71 R. Kent Wood Ifit were proposed that you were to be told when, on what date, and at what minute-you would be allowed to read a research report or a novel, you would be angered and feel that was entirely stifling of your rights and creative efforts. However, with television, because of the traditional na ture and programming of the medium , we allow just about the same thing to happen wi th OUf viewing and think very little about it.