Annual Report 2000 Year Ended March 31, 2000 TABLE of Contents Financial Highlights
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Section 1.2 of Form CO Available to the Public in Order to Increase Transparency
Disclaimer : The Competition DG makes the information provided by the notifying parties in section 1.2 of Form CO available to the public in order to increase transparency. This information has been prepared by the notifying parties under their sole responsibility, and its content in no way prejudges the view the Commission may take of the planned operation. Nor can the Commission be held responsible for any incorrect or misleading information contained therein. COMP/M. 5482 – GSN / FUN SECTION 1.2 Description of the concentration The proposed transaction involves the acquisition by Game Show Network, LLC (GSN) of sole control over Fun Technologies Inc. (FUN) within the meaning of Article 3(1)(b) of the EC Merger Regulation. GSN is a joint venture between (i) an indirect wholly owned subsidiary of Liberty Media Corporation (Liberty Media) and (ii) indirect wholly-owned subsidiaries of Sony Pictures Entertainment Inc (SPE). FUN is an indirect wholly-owned subsidiary of Liberty Media. Immediately prior to the proposed transaction, SPE will have an indirect non-controlling interest, and Liberty Media will have an indirect controlling interest, in FUN. Liberty Media and SPE will contribute all of their interests in FUN to GSN. As a result, FUN will become a wholly-owned subsidiary of GSN. FUN is active in the publication and distribution of skill-based casual games to be played on its own websites and certain third-party websites. (The proposed transaction does not involve the Fun Sports division of FUN, which will be transferred to another subsidiary of Liberty Media prior to the proposed transaction.) GSN’s primary activity is the supply of the Game Show Network television channel to cable operators, satellite providers and telecommunications companies in the USA. -
Robotic Pets in the Lives of Preschool Children
Robotic pets in the lives of preschool children Peter H. Kahn, Jr., Batya Friedman, Deanne R. Pérez-Granados and Nathan G. Freier University of Washington / Stanford University / University of Washington This study examined preschool children’s reasoning about and behavioral interactions with one of the most advanced robotic pets currently on the retail market, Sony’s robotic dog AIBO. Eighty children, equally divided between two age groups, 34–50 months and 58–74 months, participated in individual sessions with two artifacts: AIBO and a stuffed dog. Evaluation and justification results showed similarities in children’s reasoning across artifacts. In contrast, children engaged more often in apprehensive behavior and attempts at reciprocity with AIBO, and more often mistreated the stuffed dog and endowed it with animation. Discussion focuses on how robotic pets, as representative of an emerging technological genre, may be (a) blurring foundational ontological categories, and (b) impacting children’s social and moral development. Keywords: AIBO, children, human–computer interaction, human–robot interaction, moral development, social development, Value Sensitive Design Animals have long been an important part of children’s lives, offering comfort and companionship, and promoting the development of moral reciprocity and responsibility (Beck & Katcher, 1996; Kahn, 1999; Melson, 2001). Yet in recent years there has been a movement to create robotic pets that mimic aspects of their biological counterparts. In turn, researchers have begun to ask important questions. Can robotic pets, compared to biological pets, provide children with similar developmental outcomes (Druin & Hendler, 2000; Pérez-Granados, 2002; Turkle, 2000)? How do children conceive of this genre of robots? It is a genre that some researchers have begun to refer to as “social robots” (Bartneck & Forlizzi, 2004; Breazeal, 2003): robots that, to varying degrees, have some constellation of being personified, embodied, adaptive, and autonomous; and Interaction Studies 7:3 (2006), 405–436. -
Robotic Pets in Human Lives: Implications for the Human–Animal Bond and for Human Relationships with Personified Technologies ∗ Gail F
Journal of Social Issues, Vol. 65, No. 3, 2009, pp. 545--567 Robotic Pets in Human Lives: Implications for the Human–Animal Bond and for Human Relationships with Personified Technologies ∗ Gail F. Melson Purdue University Peter H. Kahn, Jr. University of Washington Alan Beck Purdue University Batya Friedman University of Washington Robotic “pets” are being marketed as social companions and are used in the emerging field of robot-assisted activities, including robot-assisted therapy (RAA). However,the limits to and potential of robotic analogues of living animals as social and therapeutic partners remain unclear. Do children and adults view robotic pets as “animal-like,” “machine-like,” or some combination of both? How do social behaviors differ toward a robotic versus living dog? To address these issues, we synthesized data from three studies of the robotic dog AIBO: (1) a content analysis of 6,438 Internet postings by 182 adult AIBO owners; (2) observations ∗ Correspondence concerning this article should be addressed to Gail F. Melson, Depart- ment of CDFS, 101 Gates Road, Purdue University, West Lafayette, IN 47907-20202 [e-mail: [email protected]]. We thank Brian Gill for assistance with statistical analyses. We also thank the following individuals (in alphabetical order) for assistance with data collection, transcript preparation, and coding: Jocelyne Albert, Nathan Freier, Erik Garrett, Oana Georgescu, Brian Gilbert, Jennifer Hagman, Migume Inoue, and Trace Roberts. This material is based on work supported by the National Science Foundation under Grant No. IIS-0102558 and IIS-0325035. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the authors and do not necessarily reflect the views of the National Science Foundation. -
Sony Corporation – Restructuring Continues, Problems Remain
BSTR/361 IBS Center for Management Research Sony Corporation – Restructuring Continues, Problems Remain This case was written by Indu P, under the direction of Vivek Gupta, IBS Center for Management Research. It was compiled from published sources, and is intended to be used as a basis for class discussion rather than to illustrate either effective or ineffective handling of a management situation. 2010, IBS Center for Management Research. All rights reserved. To order copies, call +91-08417-236667/68 or write to IBS Center for Management Research (ICMR), IFHE Campus, Donthanapally, Sankarapally Road, Hyderabad 501 504, Andhra Pradesh, India or email: [email protected] www.icmrindia.org BSTR/361 Sony Corporation – Restructuring Continues, Problems Remain “Seven out of eight years, Sony has failed to meet its own initial operating profit forecast. This is probably the worst track record amongst most major exporters. That means that either management is not able to anticipate challenges … or they fail on execution almost every time. Either way, it does not reflect well on Sony’s management.”1 - Atul Goyal, Analyst, CLSA2, in January 2009. SONY IN CRISIS, AGAIN In May 2009, Japan-based multinational conglomerate, Sony Corporation (Sony) announced that it posted its first full year operating loss since 1995, and only its second since 1958, for the fiscal year ending March 2009. Sony announced annual loss of ¥ 98.9 billion3, with annual sales going down by 12.9% to ¥ 7.73 trillion. Sony also warned that with consumers worldwide cutting back on spending in light of the recession, the losses could be to the extent of ¥ 120 billion for the year ending March 2010 (Refer to Exhibit IA for Sony‘s five year financial summary and Exhibit IB for operating loss by business segment). -
AP1 Companies Affiliates
AP1 COMPANIES & AFFILIATES 100% RECORDS BIG MUSIC CONNOISSEUR 130701 LTD INTERNATIONAL COLLECTIONS 3 BEAT LABEL BLAIRHILL MEDIA LTD (FIRST NIGHT RECORDS) MANAGEMENT LTD BLIX STREET RECORDS COOKING VINYL LTD A&G PRODUCTIONS LTD (TOON COOL RECORDS) LTD BLUEPRINT RECORDING CR2 RECORDS ABSOLUTE MARKETING CORP CREATION RECORDS INTERNATIONAL LTD BOROUGH MUSIC LTD CREOLE RECORDS ABSOLUTE MARKETING BRAVOUR LTD CUMBANCHA LTD & DISTRIBUTION LTD BREAKBEAT KAOS CURB RECORDS LTD ACE RECORDS LTD BROWNSWOOD D RECORDS LTD (BEAT GOES PUBLIC, BIG RECORDINGS DE ANGELIS RECORDS BEAT, BLUE HORIZON, BUZZIN FLY RECORDS LTD BLUESVILLE, BOPLICITY, CARLTON VIDEO DEAGOSTINI CHISWICK, CONTEMPARY, DEATH IN VEGAS FANTASY, GALAXY, CEEDEE MAIL T/A GLOBESTYLE, JAZZLAND, ANGEL AIR RECS DECLAN COLGAN KENT, MILESTONE, NEW JAZZ, CENTURY MEDIA MUSIC ORIGINAL BLUES, BLUES (PONEGYRIC, DGM) CLASSICS, PABLO, PRESTIGE, CHAMPION RECORDS DEEPER SUBSTANCE (CHEEKY MUSIC, BADBOY, RIVERSIDE, SOUTHBOUND, RECORDS LTD SPECIALTY, STAX) MADHOUSE ) ADA GLOBAL LTD CHANDOS RECORDS DEFECTED RECORDS LTD ADVENTURE RECORDS LTD (2 FOR 1 BEAR ESSENTIALS, (ITH, FLUENTIAL) AIM LTD T/A INDEPENDENTS BRASS, CHACONNE, DELPHIAN RECORDS LTD DAY RECORDINGS COLLECT, FLYBACK, DELTA LEISURE GROPU PLC AIR MUSIC AND MEDIA HISTORIC, SACD) DEMON MUSIC GROUP AIR RECORDINGS LTD CHANNEL FOUR LTD ALBERT PRODUCTIONS TELEVISON (IMP RECORDS) ALL AROUND THE CHAPTER ONE DEUX-ELLES WORLD PRODUCTIONS RECORDS LTD DHARMA RECORDS LTD LTD CHEMIKAL- DISTINCTIVE RECORDS AMG LTD UNDERGROUND LTD (BETTER THE DEVIL) RECORDS DISKY COMMUNICATIONS -
Vaitoskirjascientific MASCULINITY and NATIONAL IMAGES IN
Faculty of Arts University of Helsinki, Finland SCIENTIFIC MASCULINITY AND NATIONAL IMAGES IN JAPANESE SPECULATIVE CINEMA Leena Eerolainen DOCTORAL DISSERTATION To be presented for public discussion with the permission of the Faculty of Arts of the University of Helsinki, in Room 230, Aurora Building, on the 20th of August, 2020 at 14 o’clock. Helsinki 2020 Supervisors Henry Bacon, University of Helsinki, Finland Bart Gaens, University of Helsinki, Finland Pre-examiners Dolores Martinez, SOAS, University of London, UK Rikke Schubart, University of Southern Denmark, Denmark Opponent Dolores Martinez, SOAS, University of London, UK Custos Henry Bacon, University of Helsinki, Finland Copyright © 2020 Leena Eerolainen ISBN 978-951-51-6273-1 (paperback) ISBN 978-951-51-6274-8 (PDF) Helsinki: Unigrafia, 2020 The Faculty of Arts uses the Urkund system (plagiarism recognition) to examine all doctoral dissertations. ABSTRACT Science and technology have been paramount features of any modernized nation. In Japan they played an important role in the modernization and militarization of the nation, as well as its democratization and subsequent economic growth. Science and technology highlight the promises of a better tomorrow and future utopia, but their application can also present ethical issues. In fiction, they have historically played a significant role. Fictions of science continue to exert power via important multimedia platforms for considerations of the role of science and technology in our world. And, because of their importance for the development, ideologies and policies of any nation, these considerations can be correlated with the deliberation of the role of a nation in the world, including its internal and external images and imaginings. -
AXN Trailer Axle Maintenance Manual
Trailer Axle Maintenance Manual $2.00 ©09.2017 AXN Heavy Duty, LLC Part #: AX-TA-MM Trailer Axle Maintenance Manual Notes: Part #: AX-TA-MM © 09.2017 AXN Heavy Duty, LLC Trailer Axle Maintenance Manual Table of Contents Table of Contents Exploded View ........................................................................................................................1 Section 01: General Information ..........................................................................................3 General Warnings ............................................................................................................................................ 3 Description of Axle Models .............................................................................................................................. 3 Identification ..................................................................................................................................................... 4 Section 2: Installation ............................................................................................................5 Axle Installation Guideline ............................................................................................................................. 5 Axle Positioning ............................................................................................................................................. 5 Brake Chamber Mounting ............................................................................................................................. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
Credit Services for the Osaifu-Keitai Mobile Payment System on Open OS Terminals
Smartphones Contactless IC Cards Credit Cards Credit Services for the Osaifu-Keitai Mobile Payment System on Open OS Terminals †0 Smartphones have grown in popularity and their OSs have Credit Card Business Division Nobuyuki Miura been published as open-source. Although open-source soft - Jin Hoshino†0 †0 ware is useful, it is at risk of being attacked based on the dis - Services Platform Department Jin-ichi Hirose covery of vulnerabilities by techniques such as reverse engi - Takashi Fukuzono†† neering. To run credit services based on our Osaifu-Keitai mobile payment system on an open-source OS terminal, a different architecture from that of conventional feature phones must be used. We have therefore developed a credit service for open OS terminals that mitigates the impact asso - ciating with revisions of existing systems while maintaining the security level achieved by feature phones. secure on terminals with this sort of 2. Architecture of Feature 1. Introduction open-source OS than on conventional Phones and Open OS Smartphones have grown in popu- feature phones (conventional i-mode Terminals larity and some of them now use OSs terminals in this case). Also, when The most important function for the that have been published as open- adapting an existing system built for implementation of credit services in source*1. Although the publication of an feature phones so that it can run on this Osaifu-Keitai is the function for secure- OS as open source software helps it to sort of new architecture, it is essential to ly writing credit card information to the become more mature and more widely consider how to mitigate the impact of contactless IC chip *3 (FeliCa®*4 chip) in used and encourages the development system revisions and reduce the costs Osaifu-Keitai. -
2Nd ENTERTAINMENT INDUSTRY FORUM 13 SEPTEMBER 2016 BERLIN AGENDA
ENTERTAINMENT INDUSTRY FORUM 2016 1 2ND ENTERTAINMENT INDUSTRY FORUM 13 SEPTEMBER 2016 BERLIN AGENDA In collaboration with #ECF16 2 ENTERTAINMENT INDUSTRY FORUM 2016 ENTERTAINMENT INDUSTRY FORUM 2016 3 TUESDAY 13 SEPTEMBER Venue: Urania ENTERTAINMENT INDUSTRY FORUM 09:30-09:35 Welcome & Introduction 09:35-10:05 NBC UNIVERSAL INTERNATIONAL 10:05-10:35 RED ARROW INTERNATIONAL 10:35-11:05 NORDIC WORLD 11:05-11:25 Coffee break 11:25-11:55 ZDF ENTERPRISES 11:55-12:25 ELK FORMAT 12:25-12:55 SONY PICTURES TELEVISION 12:55-13:00 End of the event 13:00 Sandwich lunch 4 ENTERTAINMENT INDUSTRY FORUM 2016 09:35-10:05 NBC UNIVersaL INTERNatioNAL FORMAT(S) TO BE PRESENTED • Date My Race • Hidden Singer • The Question Jury • Wedlocked OFFICE(S) NBCUniversal Central St Giles St Giles High Street London, WC2H 8NU, UK WEBSITE PRESENTED BY www.nbcuniformats.com Cecilie Olsen Director Format Sales and Production [email protected] Hannah Worrall VP Format Sales and Production [email protected] NBCUniversal Formats is the International Sales division for all formats created within the production and broadcast divisions of NBCUniversal, as well as for select third party formats. The slate encompasses Reality, Lifestyle, Entertainment and Scripted formats from NBC, Bravo, Oxygen, Syfy, E!, Carnival, Monkey Kingdom and Matchbox. NBCUniversal is one of the world’s leading media and entertainment companies in the development, production and marketing of entertainment, news and information to a global audience. ENTERTAINMENT INDUSTRY FORUM 2016 5 10:05-10:35 RED ARROW INTERNATIONAL FORMAT(S) TO BE PRESENTED • Look Me in the Eye • Kiss Bang Love • Real Men • The Decision • Streetlab OFFICE(S) Red Arrow International Medienallee 7 85774 Unterfoehring, Germany With offices in Munich, New PRESENTED BY York and Hong Kong, Red Arrow Nina Etspueler International has a truly global reach SVP Development & Content Strategy and distributes acclaimed, quality Creative Operations content to over 200 territories [email protected] worldwide. -
Polygons and Practice in Skies of Arcadia
Issue 02 – 2013 Journal –Peer Reviewed ZOYA STREET Gamesbrief [email protected] Polygons and practice in Skies of Arcadia This paper features research carried out at the Victoria and Albert Museum into the design history of Sega’s 2000 Dreamcast title, Skies of Arcadia (released in Ja- pan as Eternal Arcadia). It was released by Overworks, a subsidiary of Sega, at an interesting point in Japanese computer game history. A new generation of video game consoles was in its infancy, and much speculation in the industry sur- rounded how networked gaming and large, open, tridimensional game worlds would change game design in the years ahead. Skies of Arcadia is a game about sky pirates, set in a world where islands and continents foat in the sky. I became interested in this game because it was praised in critical reviews for the real sense of place in its visual design. It is a Jap- anese Role Playing Game (JRPG), meaning that gameplay focuses on exploring a series of spaces and defeating enemies in turn-based, probabilistic battles using a system similar to that established by tabletop games such as Dungeons & Dragons. This research is based on interviews with the producer Shuntaro Tanaka and lead designer Toshiyuki Mukaiyama, user reviews submitted online over the past 10 plus years, and historically informed design analysis. It is grounded in a broader study of the networks of production and consumption that surrounded and co-produced the Dreamcast as a cultural phenomenon, technological agent and played experience. Through design analysis, oral history and archival research, in this paper I will complicate notions of tridimensionality by placing a three dimensional RPG in a broader network of sociotechnical relationships. -
Annex 2: Providers Required to Respond (Red Indicates Those Who Did Not Respond Within the Required Timeframe)
Video on demand access services report 2016 Annex 2: Providers required to respond (red indicates those who did not respond within the required timeframe) Provider Service(s) AETN UK A&E Networks UK Channel 4 Television Corp All4 Amazon Instant Video Amazon Instant Video AMC Networks Programme AMC Channel Services Ltd AMC Networks International AMC/MGM/Extreme Sports Channels Broadcasting Ltd AXN Northern Europe Ltd ANIMAX (Germany) Arsenal Broadband Ltd Arsenal Player Tinizine Ltd Azoomee Barcroft TV (Barcroft Media) Barcroft TV Bay TV Liverpool Ltd Bay TV Liverpool BBC Worldwide Ltd BBC Worldwide British Film Institute BFI Player Blinkbox Entertainment Ltd BlinkBox British Sign Language Broadcasting BSL Zone Player Trust BT PLC BT TV (BT Vision, BT Sport) Cambridge TV Productions Ltd Cambridge TV Turner Broadcasting System Cartoon Network, Boomerang, Cartoonito, CNN, Europe Ltd Adult Swim, TNT, Boing, TCM Cinema CBS AMC Networks EMEA CBS Reality, CBS Drama, CBS Action, Channels Partnership CBS Europe CBS AMC Networks UK CBS Reality, CBS Drama, CBS Action, Channels Partnership Horror Channel Estuary TV CIC Ltd Channel 7 Chelsea Football Club Chelsea TV Online LocalBuzz Media Networks chizwickbuzz.net Chrominance Television Chrominance Television Cirkus Ltd Cirkus Classical TV Ltd Classical TV Paramount UK Partnership Comedy Central Community Channel Community Channel Curzon Cinemas Ltd Curzon Home Cinema Channel 5 Broadcasting Ltd Demand5 Digitaltheatre.com Ltd www.digitaltheatre.com Discovery Corporate Services Discovery Services Play