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Indoor Fireworks: the Pleasures of Digital Game Pyrotechnics
Indoor Fireworks: the Pleasures of Digital Game Pyrotechnics Simon Niedenthal Malmö University, School of Arts and Communication Malmö, Sweden [email protected] Abstract: Fireworks in games translate the sensory power of a real-world aesthetic form to the realm of digital simulation and gameplay. Understanding the role of fireworks in games can best be pursued through through a threefold aesthetic perspective that focuses on the senses, on art, and on the aesthetic experience that gives pleasure through the player’s participation in the simulation, gameplay and narrative potentials of fireworks. In games ranging from Wii Sports and Fantavision, to Okami and Assassin’s Creed II, digital fireworks are employed as a light effect, and are also the site for gameplay pleasures that include design and performance, timing and rhythm, and power and awe. Fireworks also gain narrative significance in game forms through association with specific sequences and characters. Ultimately, understanding the role of fireworks in games provokes us to reverse the scrutiny, and to consider games as fireworks, through which we experience ludic festivity and voluptuous panic. Keywords: Fireworks, Pyrotechnics, Digital Games, Game Aesthetics 1. Introduction: On March 9th, 2000, Sony released the fireworks-themed Fantavision (Sony Computer Entertainment 2000) in Japan as one of the very first titles for its then new Playstation 2. Fantavision exhibits many of the desirable qualities for good launch title: simulation properties that show off new graphic capabilities, established gameplay that is quick to grasp, a broad appeal. Though the critical reception for the game was ultimately lukewarm (a 72 rating from Metacritic.com), it is notable that Sony launched its new console with a fireworks game. -
„Child of Eden“-Steuerung: Körperbewegung Statt Knopfdruck
„Child of Eden“-Steuerung: Körperbewegung statt Knopfdruck 14 2/ 2011 KulturSPIEGEL Was würde Kandinsky tun? Wedeln, streicheln, klatschen: Tetsuya Mizuguchis Computer - spiel „Child of Eden“ muss man tanzen. VON CARSTEN GÖRIG FOTOS: GUNTER GLÜCKLICH „Hoffnung und Glück, das sind die Themen von ,Child of Eden‘“, sagt Tetsuya Mizuguchi, 45. Sanft redet der Japaner, kaum hörbar über dem Summen der Geräte, die in den vollgepackten Räumen seines Studios Q Entertainment im Meguro-Bezirk von Tokio arbeiten. Der Spieleentwickler versucht, inmitten von Sofas, Computern, Fernsehern und Musikinstrumenten Platz zu finden. Platz braucht er für seine neueste Erfindung. Denn „Child of Eden“ kann mit Gesten gespielt werden, ganz ohne Tasten oder Knöpfe. Sanft, fast wie ein Masseur streichelt Mizuguchi die Luft, öffnet die Arme, klatscht. Die Frau auf dem Bildschirm, bleich wie ein Geist, reagiert sofort auf den Befehl des Meisters, amöbenartige Wesen werden beschossen, lösen sich auf, Farben flackern psyche - delisch. Die Frau bewegt sich durch die Welt der abstrakten Formen, der schwimmenden und tanzenden Strukturen, singt zu der euphorisierenden Musik, gesteuert von Mizuguchis Händen. „Child of Eden“ ist das erste Spiel, das die Kinect-Technologie der Xbox-360-Konsole von Microsoft für mehr als alberne kleine Spielchen oder für Fitnessübungen nutzt. Die Kinect-Kamera fängt Bewegungen des Spielers ein. Handbewegungen, die an meditatives Tafelwischen erinnern, ersetzen den Knopfdruck. Für Mizuguchi ist die Kinect-Technik ein Geschenk, denn er arbeitet wie kein anderer daran, mit seinen Spielen alle Sinne KulturSPIEGEL 2/ 2011 15 mer 1998 verabschiedete. Nach einem Besuch bei Opel in Rüsselsheim und Mercedes Benz in Stutt - gart fuhr er nach Zürich, besuchte die Stadt am Wochenende der Street Parade, der Schweizer Ent - sprechung zur Love Parade. -
Estudios Sega Europe
ESTUDIOS SEGA EUROPE UNITED GAME ARTISTS Ya sea con carreras de rallies o con ritmos de rock, United Game Artists (antes AM9) toca todos los terrenos. Desde sus orígenes como uno de los mejores equipos de Sega en el campo de los juegos de carreras (con títulos como Sega Rally Championship) hasta su nuevo interés por marchosos juegos musicales (con, por ejemplo, Space Channel 5), UGA ha demostrado que nadie les supera a la hora de hacer las cosas con estilo. AM9 se transformó en United Game Artists el 27 de abril de 2000 y su sede, que da cabida a 55 empleados presididos por Tetsuya Mizuguchi, se encuentra en el moderno distrito de Shibuya, en Tokio. Mizuguchi nació en Sapporo y asistió a la Facultad de Bellas de Artes de la Nihon University, para luego entrar en Sega en 1990. Su primer trabajo fue Megalopolice, película japonesa de carreras con gráficos creados por ordenador. A continuación, puso sus miras en los simuladores deportivos y en 1995 creó una obra maestra de las salas recreativas, Sega Rally Championship. Simulando el siempre resbaladizo y todoterreno mundo del rally, el juego de Sega destacó por un estilo de conducción del todo innovador para cualquier aficionado a los arcades. Entre las características de Sega Rally estaba la posibilidad de escoger 2 coches y competir en 3 pistas distintas, unos gráficos sorprendentes gracias a la placa Model 2, un sencillo sistema de control y un modo de competición. Además, se creó incluso una versión de la máquina que traía una réplica de un coche con sistema hidráulico.. -
Music Video Games in Live Performance
Music Video Games in Live Performance: Catachresis or an emergent approach? Francisco Bernardo Research Centre for Science and Technology of the Arts (C.I.T.A.R.) Catholic University of Portugal, R. Diogo Botelho, 1327, 4169-005 Porto, Portugal [email protected] ABSTRACT broadly accessible. And games have been embraced by a This paper argues that music video games, given the public that has otherwise been unimpressed by much of characteristics of the genre, may constitute an alternative what passes for digital art’ [7]. and viable approach to music and audiovisual performance. In ‘Digital Art’, Christiane Paul provides a survey of digital Building on a music performance in 2013, in which the art from its inception in the 1980s until the present. author participated and used a video game as a musical According to the author, digital art is a genre that instrument, we analyze some of the aspects that have encompasses artistic works and practices that use digital emerged and support our argument. We contextualize video technology as part of the creative process, and/or as the games within new media art and provide a brief analysis of presentation medium, being “placed under the larger the music video game genre. We also identify some of the umbrella term ‘new media art’” [13]. New media art is in latest research efforts concerning conceptual and technical turn a general term that refers to artwork forms like film, approaches, design features and frameworks that may assist video, sound art and their hybrids, and that differentiates the analysis and development of music video games from cultural objects deriving from the traditional visual suitable for performance. -
New Musical Organology: the Audio-Games
New musical organology : the audio-games Hervé Zénouda To cite this version: Hervé Zénouda. New musical organology : the audio-games : The question of ”a-musical” interfaces. MISSI’12 - International Conference on Multimedia & Network Information Systems, MISSI, Wroclaw University, 2012, Wroclaw, Poland. sic_01759274 HAL Id: sic_01759274 https://archivesic.ccsd.cnrs.fr/sic_01759274 Submitted on 5 Apr 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. NEW MUSICAL ORGANOLOGY: THE AUDIO GAMES THE QUESTION OF “A-MUSICOLOGICAL” INTERFACES Hervé Zénouda I3M Research Laboratory, UFR Ingémédia, Université du Sud Toulon-Var [email protected] SUMMARY: This article aims to shed light on a new and emerging creative field: “Audio Games,” a crossroad between video games and computer music. Today, a plethora of tiny applications, which propose entertaining audio-visual experiences with a preponderant sound dimension, are available for game consoles, computers, and mobile phones. These experiences represent a new universe where the gameplay of video games is applied to musical composition, hence creating new links between these two fields. In proposing to manipulate what we refer to as “a-musicological”1 representations (i.e. using symbols not normally associated with traditional musicology to manipulate and produce sound), this creative aspect raises new questions about representations of sound and musical structures and requires new instrumental gestures and approaches to composing music which will be examined. -
Circus Scam 1.9 0.5 UY Milford, Alison (Ls) Circu
Author Title AR Book AR Interest Joyce, Melanie (Ls) Billy's Boy 1.6 0.5 MY Milford, Alison (Ls) Circus Scam 1.9 0.5 UY Milford, Alison (Ls) Circus Scam 1.9 0.5 UY Milford, Alison (Ls) Circus Scam 1.9 0.5 UY Pearson, Danny (Ls) Escape From The City 1.9 0.5 MY Pearson, Danny (Ls) Escape From The City 1.9 0.5 MY Pearson, Danny (Ls) Football Smash 1.9 0.5 MY Pearson, Danny (Ls) Football Smash 1.9 0.5 MY Pearson, Danny (Ls) Football Smash 1.9 0.5 MY Powell, Jillian (Ls) Cage Boy: Level 5 1.9 0.5 MY Gray, Kes Oi Goat!: World Book Day 2018 2 0.5 LY Hurn, Roger (Ls) Too Hot: Level 3 2 0.5 MY Thomas, Valerie Winnie Flies Again 2 0.5 LY Thomas, Valerie Winnie Flies Again 2 0.5 LY Adams, Spike T. (Ls) Evil Ink 2.1 0.5 UY Adams, Spike T. (Ls) Snap Kick 2.1 0.5 UY Clayton, David Hell-Ride Tonight! 2.1 0.5 MY Cullimore, Stan (Ls) Bubble Attack 2.1 0.5 UY Cullimore, Stan (Ls) Bubble Attack 2.1 0.5 UY Cullimore, Stan (Ls) Robert And The Werewolf 2.1 0.5 UY Cullimore, Stan (Ls) Robert And The Werewolf 2.1 0.5 UY Higson, Charlie Silverfin: The Graphic Novel 2.1 1 MY Lee, Janelle (Ls) Badu Boys Rule! 2.1 0.5 MY Orme, David Boffin Boy And The Emperor's Tomb 2.1 0.5 MY Powell, Jillian (Ls) Chip Boy 2.1 0.5 UY Tompsett, C.L. -
The Dreamcast, Console of the Avant-Garde
Loading… The Journal of the Canadian Game Studies Association Vol 6(9): 82-99 http://loading.gamestudies.ca The Dreamcast, Console of the Avant-Garde Nick Montfort Mia Consalvo Massachusetts Institute of Technology Concordia University [email protected] [email protected] Abstract We argue that the Dreamcast hosted a remarkable amount of videogame development that went beyond the odd and unusual and is interesting when considered as avant-garde. After characterizing the avant-garde, we investigate reasons that Sega's position within the industry and their policies may have facilitated development that expressed itself in this way and was received by gamers using terms that are associated with avant-garde work. We describe five Dreamcast games (Jet Grind Radio, Space Channel 5, Rez, Seaman, and SGGG) and explain how the advances made by these industrially productions are related to the 20th century avant- garde's lesser advances in the arts. We conclude by considering the contributions to gaming that were made on the Dreamcast and the areas of inquiry that remain to be explored by console videogame developers today. Author Keywords Aesthetics; art; avant-garde; commerce; console games; Dreamcast; game studios; platforms; politics; Sega; Tetsuya Mizuguchi Introduction A platform can facilitate new types of videogame development and can expand the concept of videogaming. The Dreamcast, however brief its commercial life, was a platform that allowed for such work to happen and that accomplished this. It is not just that there were a large number of weird or unusual games developed during the short commercial life of this platform. We argue, rather, that avant-garde videogame development happened on the Dreamcast, even though this development occurred in industrial rather than "indie" or art contexts. -
What We Talk About When We Talk About Game Aesthetics Simon Niedenthal Malmö University School of Arts and Communication Malmö, Sweden [email protected]
What We Talk About When We Talk About Game Aesthetics Simon Niedenthal Malmö University School of Arts and Communication Malmö, Sweden [email protected] ABSTRACT well under 4% in both 2005 and 2007. Game industry Digital games are commonly described as phenomena that discomfort with aesthetic questions is expressed in a combine aesthetic, social and technological elements, yet different manner. “Here we go again” was the resigned our understanding of the aesthetic element of games and response of one interviewee in a recent Gamasutra.com play is perhaps the least developed of all. All too often, an article on the question “Are games art?” [34]. Are we to aesthetics perspective within game studies and design conclude that an aesthetics perspective on digital games has discourses is relegated to a marginal role, by conflating fallen upon tough times? Hardly. Although the term game aesthetics with graphics and “eye candy,” or by “aesthetics” (and the implicit and explicit attitudes limiting aesthetic discussion to graphic style analysis or associated with it) needs to be critically reexamined within debates on the question “are games art?” Changing game a game studies context, changes in game technologies, as technologies, as well as arguments from within philosophy, well as arguments drawing upon philosophy, psychology, psychology, interaction design theory and cultural theory, interaction design theory and cultural studies suggest that call for us to examine the implicit and explicit assumptions an aesthetics perspective can contribute greatly to research we make when we write about aesthetics within game discourses on gaming as an embodied and pleasurable studies research, as a prelude to reclaiming a perspective experience, and can give rise to new ways of thinking about that will allow us to better understand the way in which game design. -
Redacted - for Public Inspection
REDACTED - FOR PUBLIC INSPECTION Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C. 20554 In the Matter of ) ) AMC NETWORKS INC., ) Complainant, ) File No.:______________ ) v. ) ) AT&T INC., ) Defendant. ) TO: Chief, Media Bureau Deadline PROGRAM CARRIAGE COMPLAINT OF AMC NETWORKS INC. Tara M. Corvo Alyssia J. Bryant MINTZ, LEVIN, COHN, FERRIS, GLOVSKY AND POPEO, P.C. 701 Pennsylvania Avenue, NW Suite 900 Washington, DC 20004 (202) 434-7300 Scott A. Rader MINTZ, LEVIN, COHN, FERRIS, GLOVSKY AND POPEO, P.C. Chrysler Center 666 Third Avenue New York, NY 10017 (212) 935-3000 Counsel to AMC Networks Inc. August 5, 2020 REDACTED - FOR PUBLIC INSPECTION TABLE OF CONTENTS INTRODUCTION .......................................................................................................................... 1 STATEMENT OF FACTS ............................................................................................................. 5 1. Jurisdiction ........................................................................................................................ 5 2. AMCN ................................................................................................................................ 5 3. AT&T ................................................................................................................................. 6 4. AT&T’s Public Assurances During the Civil Antitrust Litigation .............................. 7 5. AT&T’s Discriminatory Conduct .................................................................................. -
Updated for 2021 About This Catalog Topics and Themes
Updated for 2021 About This Catalog Topics and Themes There’s nothing more powerful than a story to Included in each title listing are color dots connect us, to help us understand ourselves that indicate topics and themes from the and each other, and to build empathy. With book—the tags are identified at the bottom this catalog, we aim to highlight and uplift of each page, but please see below for a full books featuring characters and stories from definition of each topic and theme. groups whose identities and lived experiences RACE AND ETHNICITY have been suppressed and excluded from Portrayals of racial and ethnic groups that have mainstream narratives. Sharing these books been excluded from mainstream narratives in images with young people shows them that everyone’s and/or text story deserves to be told and will help them SOCIAL JUSTICE understand and expand their world. Civil disobedience, advocacy, and attempts to seek justice for oppressed groups of people Use this catalog to amplify these voices and build more equitable bookshelves. IMMIGRATION Immigrant and emigrant experiences For a full listing of available Spanish language LGBTQIA+ titles, please visit our Scholastic en español Featuring characters who are lesbian, gay, bisexual, catalog at Scholastic.com/SpanishCatalog. transgender, queer, intersex, asexual, or any identification within the LGBTQIA+ spectrum Table of Contents CULTURE, FOLKTALES, RELIGION, AND MYTHS PreK–Grade 3 ................................... 1 Stories from and about various cultures, religions, and countries -
Image Comics Jun20 0012 Big Girls #1 $3.99 Jun20 0013
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Chapter One : Introduction
I TABLE OF CONTENTS Attestation of Authorship..................................................................... IV Acknowledgements..................................................................................V Abstract.................................................................................................VII CHAPTER ONE: The Background .................................................. - 1 - Reflections ............................................................................................................... - 1 - The Beginning.....................................................................................................................................- 2 - Incidence of Unintentional Injuries to Children....................................................... - 5 - The History of Children’s Hospital Services ........................................................... - 7 - Paediatric Nursing in New Zealand ....................................................................... - 11 - Paediatric nursing education. ............................................................................................................- 11 - Nursing a child after a traumatic accident.........................................................................................- 12 - Choice of Methodology ......................................................................................... - 14 - Summary ................................................................................................................ - 17 - CHAPTER