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41St Annual Conference 9Th Annual Research Symposium
41ST ANNUAL 9TH ANNUAL CONFERENCE RESEARCH Gaining Perspective: SYMPOSIUM Seeing EE Through October 9–10 Different Lenses October 9–13 2012 CONFERENCE PROGRAM North American Association for Environmental Education | naaee.org Welcome to Oakland Welcome to NAAEE and our 41st Annual International Conference We’re so excited that you are joining us for the 41st Annual NAAEE Conference in the lively city of Oakland, California—ranked as the 5th most desirable destination to visit this year in the New York Times! We hope this conference will be a highlight of your professional year—with opportunities to mingle with talented leaders from around the globe, share your ideas, and take away new thinking that you can replicate in your own work. This program guide is designed to help you navigate the conference—whether you’ve been coming for years or you’re a first timer. We encourage you to take advantage of as much as you can—and still find time to socialize and soak up the flavor of the Bay Area. And you won’t want to miss any of our keynote addresses. Not only do we have some terrific speakers, but we will also use the plenaries to make announce- ments, and give out special prizes throughout the week. Here are some highlights of the week: • A provocative Research Symposium, highlighting current research in the field • A variety of workshops and field trips on Wednesday and Sunday • An incredible line-up of talented keynote speakers for the week (see page 26 for a listing) • The welcome reception on Wednesday night at 6:00 PM and conference opening, with Annie Leonard, our speaker for the evening • A special screening of Disney’s “Chimpanzee” movie, where you can hear from one of Disney’s chief scientists about what the company is doing to support environmental education and conservation. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
MACHINIMA's Movie Moguls
THE MAGAZINE OF TECHNOLOGY INSIDERS MACHINIMA’S MOVIE MOGULS WITHOUT ACTORS, CAMERAS, SETS, OR PROPS, A NEW GENERATION OF GEEKS IS HACKING ITS WAY INTO HOLLYWOOD volume 45 number 7 north american 07.08 UPDATE 11 ITALIAN ISOTOPES U.S. critics hope to halt nuclear waste imports. By Sally Adee 13 CRIMEWARE PAYS 14 OCEAN POWER ON THE RISE 15 MIXING MEMORIES TO SPEED SOLID-STATE DRIVES 16 A LUNAR LANDING OF SORTS 46 18 THE BIG PICTURE A dusting of detritus orbits Earth. OPINION 9 SPECTRAL LINES Paper or pixels? A look at books in a networked age. 10 FORUM External controls take over, the history of commonsense management, and our automotive editor defends his top 10. 20 REFLECTIONS Getting used to not having privacy. By Robert W. Lucky DEPARTMENTS 4 BACK STORY 6 CONTRIBUTORS 26 36 21 CAREERS How to get a mentor. By Carl Selinger CREATURES COVER STORY AND CREATORS: Kiva’s founders TOOLS & TOYS and their 36 MACHINIMA’S 22 Digitize your old LPs. robotic herd; By Tekla S. Perry The Pencil, one MOVIE MOGULS 23 Meet the winner of our clock- of our 10 favorite making contest. By Philip E. Ross tech books; Forget cameras, actors, and elaborate sets: a new generation 24 Can a database think? a character from of filmmakers relies only on bandwidth and a video game. the video game By Paul Wallich Halo 3 is now a By David Kushner 25 Amazon’s Kindle is the best of cinematic star. the bunch of e-book readers. 26 THREE 42 10 GREAT By Sherry Sontag ENGINEERS, TECH BOOKS COVER IMAGE: HUNDREDS OF 24 BOOKS PHOTO: See if your own favorites Leo Beranek, pioneer of acoustics. -
Animating Truth Documentary and Visual Culture in the 21St Century
Edinburgh Studies in Film and Intermediality Series Editors: Martine Beugnet and Kriss Ravetto Founding Editor: John Orr NIKOLAJ LÜBECKER NIKOLAJ A series of cutting-edge scholarly research monographs covering core aspects of film studies. The series’ internationally respected authors contribute analytical and often controversial volumes, offering a critical intervention into their subject. ‘Nikolaj Lübecker clearly and insightfully analyses many of the most controversial films of recent years by cinematic heavyweights like Michael Haneke, Lars von Trier, Claire Denis and Gus Van Sant. In doing so, he invites his readers to reconsider movies in general: maybe sometimes it’s not so bad for a movie to make us feel bad. As we root around for hope at a time when it seems thin on the ground, Lübecker paradoxically conjures hope where there seemed to be none. A unique and ground-breaking work.’ William Brown, Senior Lecturer in Film, University of Roehampton, London In recent years some of the most innovative European and American directors have made films that place the spectator in a position of intense discomfort. Systematically manipulating the viewer, sometimes by withholding information, sometimes through shock or seduction, these films have often been criticised as amoral, nihilistic, politically irresponsible or anti-humanistic. But how are these unpleasurable viewing experiences created? What do the directors believe they can achieve via this The Feel-Bad Film ‘feel-bad’ experience? How can we situate these films in intellectual history? And why should we watch, study and teach feel-bad films? Answering these questions through the analysis of work by directors such as Lars von Trier, Gus Van Sant, Claire Denis, Michael Haneke, Lucille Hadzihalilovic, Brian de Palma, Bruno Dumont and Harmony Korine, The Feel-Bad Film invites readers to consider cinematic art as an experimental activity with ethical norms that are radically different from the ones we would hope to find outside the movie theatre. -
I, Avatar: the Culture and Consequences of Having a Second Life
“The explosive popularity of virtual worlds like Second Life and World of Warcraft has thrown a bright cultural spotlight on the avatar—the ephemeral body that represents us in these worlds—but nothing has illu- minated it quite like Mark Stephen Meadows’ I, Avatar. Deeply thoughtful, and vibrantly informed by Meadows’ lived encounters with virtual worlds, the book makes a compelling case for extending the concept of the avatar beyond the boundaries of those worlds, across the full range of digitally mediated experience, and into the core of what makes us human.” — Julian Dibbell, author of Play Money: Or How I Quit My Day Job and Made Millions Trading Virtual Loot “Mark Meadows explores and explains one of the most intriguing phenomena of digital life: the fantastic (psychological) reproduction of a self who inhabits a range of virtual worlds. He narrates how our avatars/ ourselves have co-evolved with the development of new virtual worlds, revealing new modes of human-becoming in a digital age.” — Anne Balsamo, Author, Designing Culture: The technological Imagination at Work and Professor, Interactive Media at USC “Mark Meadows is fully immersed in an evolving new culture and reporting back from the heart of the action. Ultimately, what he reports on isn’t informing us about Second Life, World of Warcraft, or online chat rooms. Instead, what he reveals is a reflection of ourselves a the beginning of the 21st Century in all our weirdness, wonder, and humanity.” — Nathan Shedroff, Experience Strategist “What Bruce Chatwin did for the exotic far reaches of the physi- cal world, Mark Stephen Meadows does for the virtual. -
Slow: LIFE in a TUSCAN TOWN Photographs and Text by Douglas Gayeton Introduction by Alice Waters Preface by Carlo Petrini
Contact: : Carol Morgan, Publicity Director FOR RELEASE: OCTOBER 2009 Tel: 212-989-3200 | [email protected] A groundbreaking photographic journey into the heart of an Italian town steeped in culinary tradition that is a tribute to the slow food movement and the everyday pleasures of food. Slow: LIFE IN A TUSCAN TOWN Photographs and text by Douglas Gayeton Introduction by Alice Waters Preface by Carlo Petrini Author tour and “slow food” dinners in San Francisco, Petaluma, New York, Los Angeles, Ann Arbor, Chicago, Portland, Vancouver, Seattle, Denver, Boulder, San Diego, Los Alamos. Nationally traveling photography exhibition coincides with the publication of the book. “Many have tried to explain Slow Food in written words, but few have managed to communicate the essence of this movement as successfully.” —Alice Waters, internationally renowned chef and the co-owner of Chez Panisse, and the founder of Slow Food Nation “These photographs are rich and undeniably authentic…that goes beyond the boundaries of nations and languages and represents the principles at the heart of the Slow Food movement.” —Carlo Petrini, founder of the Slow Food movement SLOW: Life in a Tuscan Town gives us a visual and written window on a rapidly disappearing world, ruled by the land, the seasons and simple interactions. Industrialized food is breaking the web that connects us intimately to what we eat at a cost to our health and our environment.” —Robert Kenner, director, producer, Food, Inc. SLOW: Life in a Tuscan Town (October; $50.00; Welcome Books ISBN 978-1-59962- 072-5) is an unprecedented photographic personal journey into the heart of hidden Tuscany that celebrates the principles that define the Slow Food movement and pays tribute to the region’s kaleidoscope of vibrant characters, whose shared culture revolves around the everyday pleasure of growing, preparing, and eating food.