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Keywords Studios 2019 Annual Report
Keywords Studios plc Studios Keywords Annual Report Annual Report and Accounts 2019 and Accounts 2019 Building our platform for growth Keywords Studios plc Overview Strategic report Annual Report and Accounts 2019 Pages 1–6 Pages 8–44 Highlights 1 Q&A with Andrew Day 8 At a glance 2 Chief Executive’s review 10 Investment summary 4 Market outlook 16 Chairman’s statement 6 Business model 18 Our strategy 22 Service line review 24 Our people, our culture 28 KPIs 34 Financial and operating review 36 Responsible Business report 40 Board engagement with our stakeholders 43 Principal risks and uncertainties 45 2019 Highlights Our vision is to be the world’s leading technical and creative services platform for the video games industry and beyond. At Keywords Studios (Keywords), we are using our passion for games, technology and media to create a global services platform. In 2019, we delivered strong growth as we invested in a strengthened and more diversified services platform. Alternative performance measures* The Group reports certain Alternative performance measures (APMs) to present the financial performance of the business which are not GAAP measures as defined by International Financial Reporting Standards (IFRS). Management believes these measures provide valuable additional information for the users of the financial information to understand the underlying trading performance of the business. In particular, adjusted profit measures are used to provide the users of the accounts a clear understanding of the underlying profitability of the business over time. For full definitions and explanations of these measures and a reconciliation to the most directly referenceable IFRS line item, please see pages 135 to 143. -
Studio Bench: the DIY Nomad and Noise Selector
Studio Bench: the DIY Nomad and Noise Selector Amit Dinesh Patel Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy August 2019 Abstract This thesis asks questions about developing a holistic practice that could be termed ‘Studio Bench’ from what have been previously seen as three separate activities: DIY electronic instrument making, sound studio practice, and live electronics. These activities also take place in three very specific spaces. Firstly, the workshop with its workbench provides a way of making and exploring sound(- making) objects, and this workbench is considered more transient and expedient in relation to finding sounds, and the term DIY Nomad is used to describe this new practitioner. Secondly, the recording studio provides a way to carefully analyse sound(-making) objects that have been self-built and record music to play back in different contexts. Finally, live practice is used to bridge the gap between the workbench and studio, by offering another place for making and an opportunity to observe and listen to the sound(-making) object in another environment in front of a live audience. The DIY Nomad’s transient nature allows for free movement between these three spaces, finding sounds and making in a holistic fashion. Spaces are subverted. Instruments are built in the studio and recordings made on the workbench. From the nomadity of the musician, sounds are found and made quickly and intuitively, and it is through this recontextualisation that the DIY Nomad embraces appropriation, remixing, hacking and expediency. The DIY Nomad also appropriates cultures and the research is shaped through DJ practice - remixing and record selecting - noise music, and improvisation. -
Leonardo Reviews
LEON4004_pp401-413.ps - 6/21/2007 3:40 PM Leonardo Reviews LEONARDO REVIEWS this book’s ability to convey the world- aid the organizational structure in the Editor-in-Chief: Michael Punt wide connectivity that was emerging in effort to present basic themes. These, Managing Editor: Bryony Dalefield the second half of the 20th century. in turn, allow us more easily to place One of the stronger points of the book the recent art history of Argentina, Associate Editor: Robert Pepperell is the way the research translates the Brazil, Mexico, Uruguay, Venezuela, A full selection of reviews is regional trends of the mid-1940s into Croatia, the Czech Republic, Hungary published monthly on the LR web site: an environment that was setting the and Poland in relation to that of the <www.leonardoreviews.mit.edu>. stage for the international art world of West. the 1960s to take form. In effect, the The range of artists is equally local communities gave way to a global impressive. Included are (among vision, due, in part, to inexpensive air others) Josef Albers, Bernd and Hilla BOOKS travel, the proliferation of copying Becher, Max Bill, Lucio Fontana, Eva technologies and the growing ease Hesse, On Kawara, Sol LeWitt, Bruce of linking with others through long Nauman, Hélio Oiticica, Blinky distance telecommunication devices. Palermo, Bridget Riley, Jesus Rafael BEYOND GEOMETRY: Authored by six writers (Lynn Soto, Frank Stella, Jean Tinguely, and XPERIMENTS IN ORM E F , Zelevansky, Ines Katzenstein, Valerie Victor Vasarely. Among the noteworthy 1940S–1970S Hillings, Miklós Peternák, Peter Frank contributions are the sections integrat- edited by Lynn Zelevansky. -
Last Update January 1St, 2018 Saki CHIKARAISHI Born in 1982
Last update January 1st, 2018 Saki CHIKARAISHI Born in 1982, Saitama, Japan/ Live in Tokyo, Japan website www.muknit.com mail [email protected] ●Education Apr.2000-Mar.2004 Department of Information Design, Tama Art University 2004 Acquisition of BFA ●Solo Exhibitions 2017 Nov. “Knit Illumination in Shintora Avenue” Shintora Avenue, Tokyo, Japan Sep. Nagasaki Art Project ”Knit Invaders in Nagasaki” Nagasaki Museum of History and Culture/Teramachi, Nagasaki, Japan 2016 Dec. Tsukure! Musako vol.4 “Saki Chikaraishi Hyper Knit Christmas” TASKO Inc. Musashi-Koyama Factory, Tokyo, Japan May “Knit Invasions in YKK” YKK Head Office, Tokyo, Japan Jan. “Back To The Fiber : KAMISANSUI” Sibuya Hikarie aiiima3, Tokyo, Japan 2013 Aug. "Haunted House" Ikejiri Institute of Design, Tokyo, Japan 2012 Sep. "UNIVERSE ⇄ UNIVERSE" Elttob Tep Issey Miyake Ginza, Tokyo, Japan 2011 Oct. ISETAN DESIGN WEEK "Re-Style Knit Jack" Isetan Department Shinjuku Main Store, Tokyo, Japan Oct. "Welcome! The Mansion of Strange Knitting" Seibu Art Gallery, Seibu Department Ikebukuro Main Store, Tokyo, Japan Feb. "Knitting Grand Strategy" Alternative Space, Seibu Department Store, Shibuya, Tokyo, Japan 2009 Nov. "Welcome! Knitting X'mas Party" Roppongi Hills Umu, Tokyo, Japan Feb. "Globe Groove" The Artcomplex Center of Tokyo, Tokyo, Japan 2008 Feb. "My Dream Trip" The Artcomplex Center of Tokyo, Tokyo, Japan 2005 Apr. "Sakippo" Wada Gallery, Tokyo, Japan ●Group Exhibitions 2017 Nov. “GOTENYAMA ART & TECHNOLOGY WEEK 2017” Gotenyama, Tokyo, Japan Oct. “ART PROJECT TAKASAKI 2017” Around Takasaki Station West Exit, Gunma, Japan Sep. “The 7th New Artists Exhibition” Kawaguchi Art Gallery ATLIA, Saitama, Japan Aug. “Hotel Art Fes” Park Hotel Tokyo, Tokyo, Japan Apr. -
… … Mushi Production
1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Mushi Production (ancien) † / 1961 – 1973 Tezuka Productions / 1968 – Group TAC † / 1968 – 2010 Satelight / 1995 – GoHands / 2008 – 8-Bit / 2008 – Diomédéa / 2005 – Sunrise / 1971 – Deen / 1975 – Studio Kuma / 1977 – Studio Matrix / 2000 – Studio Dub / 1983 – Studio Takuranke / 1987 – Studio Gazelle / 1993 – Bones / 1998 – Kinema Citrus / 2008 – Lay-Duce / 2013 – Manglobe † / 2002 – 2015 Studio Bridge / 2007 – Bandai Namco Pictures / 2015 – Madhouse / 1972 – Triangle Staff † / 1987 – 2000 Studio Palm / 1999 – A.C.G.T. / 2000 – Nomad / 2003 – Studio Chizu / 2011 – MAPPA / 2011 – Studio Uni / 1972 – Tsuchida Pro † / 1976 – 1986 Studio Hibari / 1979 – Larx Entertainment / 2006 – Project No.9 / 2009 – Lerche / 2011 – Studio Fantasia / 1983 – 2016 Chaos Project / 1995 – Studio Comet / 1986 – Nakamura Production / 1974 – Shaft / 1975 – Studio Live / 1976 – Mushi Production (nouveau) / 1977 – A.P.P.P. / 1984 – Imagin / 1992 – Kyoto Animation / 1985 – Animation Do / 2000 – Ordet / 2007 – Mushi production 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Tatsunoko Production / 1962 – Ashi Production >> Production Reed / 1975 – Studio Plum / 1996/97 (?) – Actas / 1998 – I Move (アイムーヴ) / 2000 – Kaname Prod. -
An Animated Look at Kazakh National Identity J
e Allegorical Aĭdaḣar 43 e Allegorical Aĭdaḣar: An Animated Look at Kazakh National Identity Jake Zawlacki Louisiana State University Baton Rouge, USA Abstract e little-known Kazakh animated film, Why the Swallow’s Tail is Forked (1967), written and directed by Amen Khaydarov, not only holds the position as the first example, but is also acclaimed as the greatest work of Kazakh animation by critics, academics, and contemporary animators. Je film, based on the traditional Kazakh folk tale of the same name, was significantly altered by Khaydarov in his auteurist direction resulting in a radical retelling. Despite these alterations, Khaydarov’s variant of the folk tale resonated with viewers of the period as well as today. In this paper I argue how certain motifs are changed, added, and removed from the original folk tale by Khaydarov, consciously or unconsciously, to incorporate new allegorical elements in the folk tale. Jis essay takes an “animated look” at the film in that it performs a close reading of a folk tale through a film medium. After performing a shot by shot analysis, I deconstruct alleged “traditional” Kazakh elements, then analyze the dreamlike nature of pastoral national identity, the interplay of film, written, and spoken folklore, and the rhizomatic structure of folklore through audio and visual elements. Ultimately, I return to the film and display it as a construction of a specific nationalist narrative thus shedding light on the broader pastoral nationalist vision. Introduction While touring the grounds of Kazakhfilm studio with Gali Murzashev, a contemporary Kazakh animator who once worked under the late Amen Khaydarov in the 1980s, Why the Swallow’s Tail is Forked (1967) (1) arose in our conversation. -
Catalogo Catalogue 2019.Pdf
IN UN MONDO CHE CAMBIA, PUOI AMARE IL CINEMA FESTA DEL CINEMA DI ROMA DA UN’ALTRA PROSPETTIVA. 17-27 Ottobre 2019 PRODOTTO DA MAIN PARTNER Promosso da Partner Istituzionali Messaggio pubblicitario con finalità promozionale. WE LOVE CINEMA In collaborazione con BNL Main Partner della Festa del Cinema di Roma, dal 17 al 27 ottobre. Seguila da un altro punto di vista, su welovecinema.it e con la nostra app. by BNL - BNP PARIBAS welovecinema.it Sponsor Uffi ciali Auto Uffi ciale La banca per un mondo che cambia Partner Partner Tecnico Main Media Partner TV Uffi ciale Media Partner Sponsor FOOD PROMOTION & EVENTS MANAGEMENT Sponsor Tecnici PRODUZIONI E ALLESTIMENTI L'APP DELLA REGIONE LAZIO CON SCONTI E PROMOZIONI PER I GIOVANI DAI 14 AI 29 ANNI su cinema, eventi, libri, concerti, teatro, sport, turismo, pub e ristoranti SCARICA L’APP DAGLI STORE SCOPRI DI PIÙ NELLO SPAZIO DELLA REGIONE LAZIO ALLA FESTA AUDITORIUM PARCO DELLA MUSICA VIVILE STAGIONI DELLE ARTI CONCERTI FESTIVAL RASSEGNE VIALE PIETRO DE COUBERTIN • 00196 ROMA INFO: 06 8024 1281 • BIGLIETTERIA: 892 101 (SERVIZIO A PAGAMENTO) PROGRAMMAZIONE E BIGLIETTI SU AUDITORIUM.COM Siamo con il CINEMA ITALIANO ovunque voglia arrivare. cinecittaluce.it festadelcinema_165 X240 .indd 1 18/09/19 09:20 esecutivo-pagina-cinema.pdf 1 17/09/2019 09:47:37 C M Y CM MY CY CMY K Lavoriamo ogni giorno per valorizzare il set più bello del mondo. Mazda CX-30 Cat FestaCinema 165x240.indd 1 01/10/19 10:13 SIAE_per_FestaCinemaRoma_2019_165x240.pdf 1 10/09/19 11:47 SOGNI IDEE ARTE EeMOZIONI 14A EDIZIONE | 14TH EDITION -
Annual Firearms Manufacturing and Export Report 2018 Final
ANNUAL FIREARMS MANUFACTURING AND EXPORT REPORT YEAR 2018 Final* MANUFACTURED PISTOLS REVOLVERS TO .22 417,806 TO .22 271,553 TO .25 25,370 TO .32 1,100 TO .32 30,306 TO .357 MAG 113,395 TO .380 760,812 TO .38 SPEC 199,028 TO 9MM 2,099,319 TO .44 MAG 42,436 TO .50 547,545 TO .50 37,323 TOTAL 3,881,158 TOTAL 664,835 RIFLES 2,880,536 SHOTGUNS 536,126 MISC. FIREARMS 1,089,973 EXPORTED PISTOLS 333,266 REVOLVERS 21,498 RIFLES 165,573 SHOTGUNS 27,774 MISC. FIREARMS 6,126 * FOR PURPOSES OF THIS REPORT ONLY, "PRODUCTION" IS DEFINED AS: FIREARMS, INCLUDING SEPARATE FRAMES OR RECEIVERS, ACTIONS OR BARRELED ACTIONS, MANUFACTURED AND DISPOSED OF IN COMMERCE DURING THE CALENDAR YEAR. PREPARED BY LED 01/28/2020 REPORT DATA AS OF 01/28/2020 PISTOLS MANUFACTURED IN 2018 PAGE 1 OF 128 PISTOL PISTOL PISTOL PISTOL PISTOL PISTOL PISTOL RDS KEY LICENSE NAME STREET CITY ST 22 25 32 380 9MM 50 TOTAL 99202128 BOWMAN, FORREST WADE 29 COLLEGE RD #8B-2 FAIRBANKS AK 0 5 0 0 0 1 6 99202850 DOWLE, PAUL GORDON 1985 LARIX DR NORTH POLE AK 0 0 0 0 0 1 1 99203038 EVERYDAY DEFENSE 1591 N KERRY LYNN LN WASILLA AK 0 1 0 0 1 0 2 SOLUTIONS LLC 99202873 HAWK SHOP LLC 2117 S CUSHMAN ST FAIRBANKS AK 2 0 1 0 4 11 18 99202968 HOBBS, THOMAS CHARLES 3851 MARIAH DRIVE EAGLE RIVER AK 0 0 0 6 1 0 7 16307238 ANDERSONS GUNSMITHING 4065 COUNTY ROAD 134 HENAGAR AL 4 0 2 0 0 0 6 AND MACHINING LLC 16307089 BARBOUR CREEK LLC 200 SELF RD EUFAULA AL 0 0 0 1 14 0 15 16307641 BOTTA, PAUL EDWARD 10040 BUTTERCREME DR MOBILE AL 0 2 0 0 0 0 2 S 16303219 CHATTAHOOCHEE GUN 312 LEE RD 553 PHENIX CITY -
Gun Data Codes As of March 31, 2021 Gun Data Codes Table of Contents
Gun Data Codes As of March 31, 2021 Gun Data Codes Table of Contents 1 Gun Data Codes Introduction 2 Gun Make (MAK) Field Codes 3 Gun Caliber (CAL) Field Codes 4 Gun Type Field Codes 4.1 Gun Type Characteristic 1 Weapon Type (Required) Field Codes 4.2 Gun Type Characteristic 2 Weapon Description (Optional) Field Codes 4.3 Gun Type Combination Field Codes 5 Gun Color and Finish Field Codes 1 - Gun Data Codes Introduction Section 2 contains MAK Field codes listed alphabetically by gun manufacturer. If a make is not listed, the code ZZZ should be entered as characters 1 through 3 of the MAK Field with the actual manufacturer's name appearing in positions 4 through 23. This manufacturer's name will appear as entered in any record response. If the MAK Field code is ZZZ and positions 4 through 23 are blank, the MAK Field will be translated as MAK/UNKNOWN in the record response. For unlisted makes, the CJIS Division staff should be contacted at 304-625-3000 for code assignments. Additional coding instructions can be found in the Gun File chapter of the NCIC Operating Manual. For firearms (including surplus weapons) that are U.S. military-issue weapons, the MAK Field code USA should be used. Common U.S. military-issue weapons include the following U.S. Military-Issue Weapons: U.S. Military-Issue Weapons .45 caliber and/or 9 mm U.S. Submachine Guns: M1, M1A1, M1928, M1928A1(Thompson), M50, M55 (Reising), M42 (United Defense), M3, M3A1 ("Grease Gun") .45 caliber U.S. -
Here Done That
FEATURES 53rd Annual CAS Awards ......................... 8 Meet the Winners .............................. 12 La La Land, Finding Dory, The Music of Strangers, The People v. O.J. Simpson, Game of Thrones, Modern Family, and Grease Live! Outstanding Product Awards 2017 ................. 42 8 CAS Student Recognition Award .................. 44 Third recipient announced Mentorship: My Mentors in Education .............. 48 44 DEPARTMENTS The President’s Letter ............................ 4 From the Editors ................................ 6 You Just Can’t Make This Stuff Up .................. 54 Tales from the trenches 48 Been There Done That ........................... 55 CAS members check in The Lighter Side ............................... 58 58 Cover: Collage of CAS Award winners CAS QUARTERLY SPRING 2017 3 THE PRESIDENT’S LETTER the The picturein“TheLighter Side”onpage54oftheWinter2017issue Correction President Mark UlanoCAS regards, Warm all. growth for of creative possibilities and the colleagues to moreadvancesintechnology,continuedsupportofandfromour marks thestartofanewandexcitingyearaheadwherewelookforward 24, 2018,February Awards on Audio Society Cinema 54th Annual year. previous school of the end include the to line withcurrenttermdatesandhavenowopenedtheapplicationperiod generated bythisaward,wehaverevisedourSRAyeartofallmorein Fan thisyear’saccolade.Withconsiderationoftheinternationalinterest and wecouldn’thavebeenhappierthantoawardedWenrui“Sam” the future.” for our youth can build we youth, but Roosevelt famouslysaid,“Wecannotalwaysbuildthefutureforour -
Accessories Invest in the Best 2020 Seco Catalog
ACCESSORIES INVEST IN THE BEST 2020 SECO CATALOG New Products Bipod to tripod leg – brought back by popular demand (5218-06) Easily convert your existing prism/range pole bipod into a tripod for extra stability PAGE 37 New Traverse Kits: (2159-10 through -15) PAGE Top-of-the-line traverse kits, with 26 beam deviation accuracy of either <5 or <2, copper or silver coated; along with high precision rotating tribach adapters and more. PAGE 35 PAGE 15 TSC7/Ranger 7 ATV bracket (5198-52) Mini 360 Prism Kit Stable position holding (6406-02) on ATV, motorcycle or For Swiss-style instruments, snowmobile Prism Accuracy <5 seconds PAGE 35 PAGE 10 TSC7 /Ranger 7 Hook (5196-22) Hold your TSC7 securely to your instrument tripod 360 Prism (6406-01) Range up to 600M. Push- button quick release, designed for Swiss-style instruments and offsets Note on the Flags: All products are available worldwide. The US flag means that the product is shipped from the US warehouse only. The EU flag means that it can also be shipped from our European warehouse. Inventory subject to change without notice. Refer to SECO’s website at Surveying.com for the latest product information. 2 2020 SECO CATALOG Section One GNSS Accessories 5-13 Vehicle Accessories 14-15 Vials and Levels 16 Land Surveying Section Two Laser Scanner Accessories 17-19 Specialty Prism Poles 19-21 Prism Poles and Accessories 21-25 Prism Pole Bipods & Tripods 26-27 Section Three GNSS Prisms and Assemblies 29-32 Prism Systems, Sliding and Pin Pole Kits 33-34 Walleye and Mini Prisms 35-36 Prism Assemblies -
Returning to Autoethnography As a Doctoral Nomad Karyn Mcelroy National Louis University
National Louis University Digital Commons@NLU Dissertations 9-2016 Vagabond: Returning To Autoethnography As A Doctoral Nomad Karyn McElroy National Louis University Follow this and additional works at: https://digitalcommons.nl.edu/diss Part of the Curriculum and Social Inquiry Commons Recommended Citation McElroy, Karyn, "Vagabond: Returning To Autoethnography As A Doctoral Nomad" (2016). Dissertations. 184. https://digitalcommons.nl.edu/diss/184 This Dissertation - Public Access is brought to you for free and open access by Digital Commons@NLU. It has been accepted for inclusion in Dissertations by an authorized administrator of Digital Commons@NLU. For more information, please contact [email protected]. VAGABOND: RETURNING TO AUTOETHNOGRAPHY AS A DOCTORAL NOMAD Karyn McElroy Curriculum and Social Inquiry/Curriculum Advocacy and Policy Submitted in partial fulfillment of the requirements of Doctor of Education National College of Education National Louis University August 2016 (signature page) Copyright by Karyn McElroy, 2016 All rights reserved Abstract Vagabond: Returning to Autoethnography as a Doctoral Nomad is a journey into what is described as a purposeful and rhizomatic inquiry of spaces and places in knowing. It prompts questioning within the author such as, “What has this doctoral journey come to mean, and where do I go now as I step outside the roots which have planted in me this need to wander? How do I navigate this struggle?” The work is a coming-to-terms piece. It is a hopeful wandering and documented artifact capturing an organic process of unlearning, relearning, and examining locations of being, while recognizing the emergent need to embrace fracture, fiction, and multiple conflicting positions.