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This started out so simple and it turned into a monster. This tutorial guide is here to help you understand….EVERYTHING about setting up MMD, MME, MMD, PMDeditor and PMXeditor (and probably anything else somebody else brings out). It covers System Requirements (mainly for MMD), required downloads, where to download the programs, how to ‘install them’, a few tips here and there and probably something else I forgot to put here in this introduction. Just go and look and contents page. It’ll give you an idea of how this tutorial is set out and what is in it. Unfortunately because I do not know how to use it or install it, there is not a section dedicated to the Kinect Plugin for MMD. However, there are tutorials on Youtube, which may be of use to you. I hope that this helps you. 1 | P a g e #. Introduction #. Contents Page #. Afterword 1. MikuMikuDance An Introduction to MMD System Requirements Set Up Downloads How to Set up 2. MikuMikuEffect An Introduction to MME Set Up Downloads How to Set up 3. MikuMikuMoving An Introduction to MME Set Up Downloads How to Set up 4. [4.1] PMDeditor An Introduction to MME Set Up Downloads How to Set up 5. [5.1] PMXeditor An Introduction to MME Set Up Downloads How to Set up I just want emphasize that these programs will only run on WindowsOS based systems. 2 | P a g e An Introduction to MMD MikuMikuDance is a 3D animation software that was developed and operated by Mr. Yu Higuchi. -
Gender, Ethnicity, and Identity in Virtual
Virtual Pop: Gender, Ethnicity, and Identity in Virtual Bands and Vocaloid Alicia Stark Cardiff University School of Music 2018 Presented in partial fulfilment of the requirements for the degree Doctor of Philosophy in Musicology TABLE OF CONTENTS ABSTRACT i DEDICATION iii ACKNOWLEDGEMENTS iv INTRODUCTION 7 EXISTING STUDIES OF VIRTUAL BANDS 9 RESEARCH QUESTIONS 13 METHODOLOGY 19 THESIS STRUCTURE 30 CHAPTER 1: ‘YOU’VE COME A LONG WAY, BABY:’ THE HISTORY AND TECHNOLOGIES OF VIRTUAL BANDS 36 CATEGORIES OF VIRTUAL BANDS 37 AN ANIMATED ANTHOLOGY – THE RISE IN POPULARITY OF ANIMATION 42 ALVIN AND THE CHIPMUNKS… 44 …AND THEIR SUCCESSORS 49 VIRTUAL BANDS FOR ALL AGES, AVAILABLE ON YOUR TV 54 VIRTUAL BANDS IN OTHER TYPES OF MEDIA 61 CREATING THE VOICE 69 REPRODUCING THE BODY 79 CONCLUSION 86 CHAPTER 2: ‘ALMOST UNREAL:’ TOWARDS A THEORETICAL FRAMEWORK FOR VIRTUAL BANDS 88 DEFINING REALITY AND VIRTUAL REALITY 89 APPLYING THEORIES OF ‘REALNESS’ TO VIRTUAL BANDS 98 UNDERSTANDING MULTIMEDIA 102 APPLYING THEORIES OF MULTIMEDIA TO VIRTUAL BANDS 110 THE VOICE IN VIRTUAL BANDS 114 AGENCY: TRANSFORMATION THROUGH TECHNOLOGY 120 CONCLUSION 133 CHAPTER 3: ‘INSIDE, OUTSIDE, UPSIDE DOWN:’ GENDER AND ETHNICITY IN VIRTUAL BANDS 135 GENDER 136 ETHNICITY 152 CASE STUDIES: DETHKLOK, JOSIE AND THE PUSSYCATS, STUDIO KILLERS 159 CONCLUSION 179 CHAPTER 4: ‘SPITTING OUT THE DEMONS:’ GORILLAZ’ CREATION STORY AND THE CONSTRUCTION OF AUTHENTICITY 181 ACADEMIC DISCOURSE ON GORILLAZ 187 MASCULINITY IN GORILLAZ 191 ETHNICITY IN GORILLAZ 200 GORILLAZ FANDOM 215 CONCLUSION 225 -
Exit Tunes Presents Vocalohistory Feat Hatsune Miku
Exit Tunes Presents Vocalohistory Feat Hatsune Miku Real Gilburt fish immitigably while Robin always previews his annunciation elegized luxuriously, he cabins so mellifluously. Conserving and blushless Windham dazed: which Horatius is relationless enough? Heterogeneous Trever usually undoubled some magnetisations or expiates apomictically. Please ensure that your Registered Paypal address is up to date and correct. GUMI in the chorus. EXIT TUNES PRESENTS Kaitonation feat. Barcode only on obi strip. Megurine Luka no Kokoro no Kotoba! Rin, Len, IA, Luka, and MAYU are absent for the first time; and MEIKO, Gackpo, and KAITO are absent for the second time. Goods must be exactly the same condition as you received. Multiple orders are welcome to our traffic and mayu are welcome to check tags that you. Himitsu no kokoro no naka o miru ka. Ria Takashi Bakuhatsu Shiro! Please buy Hatsune Miku Project Diva Future Tone All Songs album music original if you like the song you choose from the list. Please be aware before purchasing. Title TBA by Toshiyuki Toyona. US and International government regulations prohibit such behavior. You might also like these images below. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. Figma Snow Miku: Twinkle Snow Ver. All in the title. Import duties, taxes and charges are not included in the item price or shipping charges. This item is no longer available at our website, but it may still be available at other online shops within Japan. You need to login first to get free points daily or buy points. -
Beauty Is in the Eye of the “Produser”: Japan's Virtual Idol Hatsune Miku from Software, to Network, to Stage
BEAUTY IS IN THE EYE OF THE “PRODUSER”: JAPAN'S VIRTUAL IDOL HATSUNE MIKU FROM SOFTWARE, TO NETWORK, Intermittence + Interference POST-SCREEN: TO STAGE ANA MATILDE SOUSA ANA MATILDE SOUSA 117 INTRODUCTION The “virtual idol” dream is not new, but Hatsune Miku — a cybercelebrity origi- nating from Japan who is steadily becoming a worldwide phenomenon — con- stitutes a paradigm shift in this lineage initiated in 1958 by the novelty group of anthropomorphic squirrels Alvin and the Chipmunks. Since then many have followed, from The Archies to Gorillaz and 2.0Pac. In Japan, HoriPro’s “digital kid”, Date Kyoko, pioneered the cyber frontier with her hit single “Love Commu- nication” in 1996 (Wolff, n.d.). While in 2011, the idol supergroup AKB48 pulled an infamous publicity stunt by revealing their new girl, Aimi Eguchi, was a com- puter-generated combination of other group members (Chen, 2011). So what does Miku have that they do not? Despite her apparent similar- ity to fictional characters such as Rei Toei from William Gibson’s Idoru, Miku’s phenomenon has less to do with futuristic prospects of technological singu- larity than with present-day renegotiations of the roles of author, work and fan in Web 2.0 media cultures. By addressing her softwarennetworknstage transformations, this study draws on a rapidly growing scholarship (Hama- saki, Takeda, & Nishimura, 2008; Le, 2013; Conner, 2014; Guga, 2014; Annett, 2015; Leavitt, Knight, & Yoshiba, 2016) to investigate how Miku’s appearance on screen(s) has shaped her construction as a virtual idol through grassroots- corporate “produsage” (Bruns, 2008). MIKU, FROM THE BEGINNING With a visionary name announcing the “First Sound of Future”, Hatsune POST-SCREEN: Intermittence + Interference POST-SCREEN: Miku, created in August 2007 by Sapporo-based company Crypton Future Me- dia, is the most popular avatar of Yamaha’s cutting-edge voice synthesizer VO- CALOID. -
Idols and Celebrity in Japanese Media Culture, Edited by Patrick W
Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Idols and Celebrity in Japanese Media Culture Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin This page intentionally left blank Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Idols and Celebrity in Japanese Media Culture Edited by Patrick W. Galbraith and Jason G. Karlin University of Tokyo, Japan Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Introduction, selection -
Vocaloid and the Future of Songwriting
Vocaloid and the future of Songwriting Vocaloid is a concept that requires two explanations – it is a software developed at Pompeu Fabra University in Barcelona, Spain, with the backing of Yamaha Corporation and commercially marketed as a virtual instrument, similar to any other music creation and editing software, except that instead of instrumental sounds, Vocaloid gives digital music producers a powerful tool to enhance their music – the human voice. Vocalists are contracted by software companies with a licensing agreement with Yamaha, such as Crypton Future Media, to produce and sell software utilizing the Vocaloid technology, record vast libraries of phonemes that allow for the construction of lyric tracks, complete with pitch modulation and a multitude of other available effects. This allows digital music producers to record music and lyrics directly from their computers without needing recording equipment or, most importantly, a live vocalist. In this sense, Vocaloid has opened the doors of democracy to the music production industry – anyone with the time and passion for songwriting can record professional-quality music in their own home regardless of their own vocal talent or ability to hire talent. The second facet of Vocaloid began as a marketing ploy – the first generation of Japanese Vocaloid software featured two voices, one male and one female, named “Meiko” and “Kaito”. Their box art featured illustrations of the “performer”, depicting Meiko as a slender brunette in red pleather and Kaito with blue hair in a white jacket and scarf matching his hair. Japan’s cultural history of Shinto Animism cultivated an environment with a preference for anthropomorphism, leading fans to closely associate with the virtual pair, boosting the software’s popularity. -
ASIA-PACIFIC NEWSLETTER September-October 2009 Dear Commoners
ASIA-PACIFIC NEWSLETTER September-October 2009 Dear Commoners, We are very glad to present to you this first issue of the CC Asia Pacific Newsletter. Please take a moment to browse the many updates and stories brought to you by the fellow Creative Commons jurisdiction project teams in the Asia and Pacific region. We hope you will find the newsletter interesting and useful, and enjoy it as much as we do! It has been a while since some of jurisdiction project teams met at the “Commons Crossroads” conference (http://cc-asia-pacific.wikidot.com/) in Manila in February. At the meeting, collaborative projects utilizing the Creative Commons licenses were showcased, and observations about CC license usage in the region were presented. The participating jurisdiction project teams also exchange views on the organizational issues of their projects, and discuss the common challenges they are facing. Sensing the needs to maintain close contacts among the CC jurisdiction projects in this region, it was proposed to have a bi-monthly electronic newsletter from which each of us can be informed of CC activities in one another’s jurisdiction. It is also hoped that the newsletter serves as a venue to share experience and to enable collaboration. After the “Commons Crossroads” conference, the Creative Commons jurisdiction projects in Asia and the Pacific region jointly prepared and announced an Action Plan Statement. In the statement, several action strategies are outlined in defining the regional roadmap for Creative Commons. One of the action items listed in the Statement is to publish a bi- monthly newsletter. With your input and help, together we have given birth to this first issue. -
The Vocaloid Phenomenon of Vocal Synthesis and Sample Concatenation
The Vocaloid Phenomenon of Vocal Synthesis and Sample Concatenation Cole Masaitis University of Mary Washington Department of Music Dr. Mark Snyder January 30, 2017 Masaitis, 1 Imagine a future where a singing voice synthesizer sang to you, instead of a real human. Instead of imagining that, what if I told you that this particular future has been around for quite some time? Vocaloid, or computer software that matches this exact description has been blowing up in Japan for over a decade, with other areas including the West being largely in the dark about it. In reality, Vocaloid has been slowly but surely seeping into pop-culture in other countries as well and was created all the way back in the early 2000’s. Vocaloid originated in the early 2000’s and was developed by a man named Hideki Kenmochi who some refer to as “the father” of the software, for a research project at Pompeu Fabra University in Barcelona, Spain. Following his time at university, Yamaha Corporation funded his research which allowed for the further development of his creation and since then, the software has evolved into the worldwide phenomenon called Vocaloid that exists today. Vocaloid employs sample concatenation or sequence that replicates the human voice, based on actual recordings of different individuals for each voicebank found in the Vocaloid editor programs. Originally, it was only capable of pronouncing vowels, and by the year 2003, the team released their product which was now able to sing simplistic words. Over the years the product went through several iterations before it reached the modern version of vocal synthesis it exemplifies today, in the form of Yamaha’s Vocaloid 4 software with more advanced phonetic, linguistic, and vocal than ever before. -
Exit Tunes Presents Vocalonexus Feat Hatsune Miku
Exit Tunes Presents Vocalonexus Feat Hatsune Miku Kelvin is only and dreams morally as Typhonian Redford wedge dogmatically and unlink concomitantly. Sonless and regressing Wade never encarnalising his hawsepipes! How leftward is Dryke when etiolated and ulnar Arvy aphorizing some monitorships? Billing country is aggregated and what other companies, hatsune miku exit tunes presents vocalonexus feat vocalocluster. Dropkick on charts in the music from one time, hatsune miku exit tunes presents vocalonexus feat was a comment by uploading a baby could do you. Please choose a different delivery location or level from another seller. Exit tunes presents gumitive from video and illustrator a miku exit tunes presents vocalonexus feat hatsune miku feat! There wish no matching results. Girls band party enjoy all over his instagram account after getting a beat. This browser for import in regulatory and are provided by cfm, exit tunes presents vocalonexus feat hatsune miku hatsune miku and try to! Exit tunes presents vocaloconnection feat listen, hatsune miku feat. The boy and the video and prices in the software credited to read our website, exit tunes presents vocalonexus feat hatsune miku, debuted at burundi. Enter your comment here. Exit tunes presents gumitive from other online trends are more classical form of the item price shown for import duties, hatsune miku exit tunes presents vocalonexus feat was originally created for progressive loading case. EXIT TUNES PRESENTS Vocalonexus feat. As it represent a machine translation, Happy! When first Get shift My room Always Pretends to charge Dead. Sins by life of prison. Understanding Vocaloid Albums Release! Hatsune Miku, KAITO, yet fascinating approach towards the shŕnen formula that puts it track odds represent a more classical form of storytelling: fairy tales. -
Hatsune Miku: the Reality of a Fake Pop Star Christopher Wicoff 12
COLORADO JOURNAL OF ASIAN STUDIES Volume 2, Issue 1 (Summer 2013) 1. Hatsune Miku: The Reality of a Fake Pop Star Christopher Wicoff 12. Aadhar: Bridging Cultural Gaps in a Developing India Tori DaHarb 27. A Marketing Plan: Crest Oral Care Products in Rural Indian Markets Rachel Young 49. Swinging for the Kaki: Major League Baseball and Japan Jonathan Campbell 60. Breaking Out of the Single Story: The Senkaku / Diaoyu Islands Dispute from a Transnational, Multilateral Perspective Elizabeth Chavez 73. Village Elections in the People’s Republic of China Dashiell H. Nathanson 92. Births of a Nation: Liberation and the One-Child Policy for Women in Urban China Emma Rafaelof Colorado Journal of Asian Studies Volume 2, Issue 1 (Summer 2013) Center for Asian Studies, University of Colorado 1424 Broadway Street, Boulder CO 80309 Colorado Journal of Asian Studies Volume 2, Issue 1 (Summer 2013) The Colorado Journal of Asian Studies is an undergraduate journal published by the Center for Asian Studies at the University of Colorado at Boulder. Each year we highlight outstanding theses from our graduating seniors in the Asian Studies major. EXECUTIVE BOARD AY 2012‐2013 Tim Oakes, Director Tim Weston, Associate Director Shu‐Ling Berggreen Steve Chan Lucy Chester Holly Gayley Carla Jones Faye Kleeman Dennis McGilvray Emily Yeh CURRICULUM COMMITTEE AY 2012‐2013 Tim Weston, Chair Holly Gayley Carla Jones Faye Kleeman Amy Liu, Editor, Colorado Journal of Asian Studies Emily Yeh Ex‐Officio Sylvie Burnet‐Jones, OIE Janice Oldroyd, Academic Advisor Center for Asian Studies, University of Colorado 1424 Broadway Street, Boulder CO 80309 Colorado Journal of Asian Studies Volume 2, Issue 1 (Summer 2013) NOTE FROM THE EDITOR Each year, the Center for Asian Studies at the University of Colorado at Boulder highlights one or two themes in its sponsored programs. -
INTERACTIVE NEWS EXPERIENCES with VIRTUAL NEWS ANCHORS Exploring the Presentation and the Use of Virtual News Anchors with Finnish News Consumers
Veera Eiste INTERACTIVE NEWS EXPERIENCES WITH VIRTUAL NEWS ANCHORS Exploring the Presentation and the Use of Virtual News Anchors with Finnish News Consumers Faculty of Information Technology and Communication Sciences M. Sc. Thesis Supervisors: Thomas Olsson and Anna Rantasila November 2020 ABSTRACT Veera Eiste: Interactive News Experiences with Virtual News Anchors: Exploring the Presentation and the Use of Virtual News Anchors with Finnish News Consumers M.Sc. Thesis Tampere University Master’s Degree Programme in Human-Technology Interaction November 2020 Distribution of news content is shifting from traditional media to online platforms as society digitalises. Engaging news consumers is more difficult because media companies must compete for consumers’ attention and time with a vast amount of increasingly compelling and interactive content. Therefore, media companies could consider offering news consumers engaging and interactive news content with emerging technologies, such as virtual news anchors. In this thesis, virtual news anchors are perceived as an engaging and interactive form of virtualised news distribution. The thesis aims to explore the Finnish news consumers’ opinions and perceptions on the virtual news anchor presentation and the use. The presentation refers to how the virtual news anchors appear, interact, and in which environment. The use refers to the kind of news the virtual news anchors could deliver, and the additional features they could offer. The concept is yet to emerge in Finland, and prior research in the field of Human- Technology Interaction does not exist on the presentation and the use. Therefore, this thesis explores the news consumers’ first reactions, expectations, and ideas towards such technology. The research aim was approached with three focus group interviews with Finnish news consumers. -
MIKU LAND GATE Β ~To Be Opened in Virtual Cast During Aug
P R E S S R E L E A S E Official Hatsune Miku Virtual World MIKU LAND GATE β ~to Be Opened in Virtual Cast During Aug. 8th-10th~ Tokyo, JP (June 17th, 2020) - Virtual Cast, Inc. (https://corp.virtualcast.jp/) and Gugenka® (https://gugenka.jp/) have announced that they will jointly open MIKU LAND GATE β, a virtual world where users worldwide can visit and purchase official Hatsune Miku merchandise via the VR live communication service Virtual Cast. The world is slated to open this summer from August 8th (Sat.) - 10th (Mon.) and offers free admission. Virtual Hatsune Miku world designed by first-class architects - Exclusive merchandise available The novel coronavirus outbreak has had an unprecedented impact on the event scene worldwide where some are postponed or canceled altogether. However, events taking place in virtual reality have been attracting attention more than ever as fans can gather in large numbers safely from the comfort of their home. MIKU LAND GATE β is an entrance area of a futuristic Hatsune Miku themed amusement park in virtual reality which will be designed by the Takeru Shoji Architects (https://www.takerushoji.jp/en/) - a first-class architectural design office based in Japan that works on homes and shops in real life. The office will be utilizing BIM data to design a world where the virtual and the real intertwine. Those on PC can visit MIKU LAND GATE β via Virtual Cast (available on Steam) and as an avatar they can attend the opening/ending ceremony, interact with other visitors and also enjoy shopping experiences.