Joue Le Jeu / Play Along JUNE, 21 > AUGUST, 12 Pre-Press
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
Art Worlds for Art Games Edited
Loading… The Journal of the Canadian Game Studies Association Vol 7(11): 41-60 http://loading.gamestudies.ca An Art World for Artgames Felan Parker York University [email protected] Abstract Drawing together the insights of game studies, aesthetics, and the sociology of art, this article examines the legitimation of ‘artgames’ as a category of indie games with particularly high cultural and artistic status. Passage (PC, Mac, Linux, iOS, 2007) serves as a case study, demonstrating how a diverse range of factors and processes, including a conducive ‘opportunity space’, changes in independent game production, distribution, and reception, and the emergence of a critical discourse, collectively produce an assemblage or ‘art world’ (Baumann, 2007a; 2007b) that constitutes artgames as legitimate art. Author Keywords Artgames; legitimation; art world; indie games; critical discourse; authorship; Passage; Rohrer Introduction The seemingly meteoric rise to widespread recognition of ‘indie’ digital games in recent years is the product of a much longer process made up of many diverse elements. It is generally accepted as a given that indie games now play an important role in the industry and culture of digital games, but just over a decade ago there was no such category in popular discourse – independent game production went by other names (freeware, shareware, amateur, bedroom) and took place in insular, autonomous communities of practice focused on particular game-creation tools or genres, with their own distribution networks, audiences, and systems of evaluation, only occasionally connected with a larger marketplace. Even five years ago, the idea of indie games was still burgeoning and becoming stable, and it is the historical moment around 2007 that I will address in this article. -
Copyrighted Material
1 Indie Film as Indie Culture Michael Z. Newman Like its counterpart, Hollywood, indie has come to mean more things than we can accommodate in a capsule summary. Like Hollywood, indie is a type of movie, a mode of production and distribution, a community of practice, a cultural ideal, and a shorthand for something people too easily celebrate or deride. Actually it is not one type, mode, community, ideal, and shorthand, but several. It is also, like Hollywood, a term with a history, naming a series of iterations of cinematic and cultural forma- tions. The indie cinema of the 1980s and 90s is not exactly the indie cinema of the 2010s. In one sense indie cinema names a historical period, which I have called the Sundance–Miramax era, stretching from the 1980s to around 2010 (Newman 2011). But it also extends earlier and later in variations of independence and indieness (Mann 2008, King 2014). The Sundance–Miramax era, moreover, might not be as coherent as I would like it to seem. Like Hollywood, indie cinema is also integrally part of something bigger than itself that includes many types of popular media and culture. Hollywood is an emblem of mainstream popular culture, the so‐called mass media. It has much in common with other examples such as popular music, broadcast television, large‐ circulation newspapers and magazines, Broadway shows, and bestseller books that aim to reach broad audiences (Whiteside 1980). Indie film is, by contrast, one key example of a type of culture positioned in relation to mainstream, mass media: alternatives appealingCOPYRIGHTED more narrowly that reject theMATERIAL conventions of popular forms, or at least depart from or engage critically with them. -
The Cord Weekly
the CORD weekly LAURIER'S OFFICIAL STUDENT NEWSPAPER SEX ASSAULT EAR CANDY WOMEN'S i c i o ' VOLUME 41 WEDNESDAY, FEBRUARY 14 2001 - ISSUE 22 IN PARK J MADNESS 1J VOLLEYBALL 10 Prang Wins WLUSU Wellhauser and Ellis take other executive spots DILLON MOORE Wellhauser intends to spend CORD NEWS the next while getting caught up with school and integrating After all the it himself with the \MSU vice President W H 0 SP tallying was done, fully processes was found that 1655 students of student government. P[p®®0aI®0Dft UNIVERSITY AFFAIRS Pks@D(i!©[D5 (or 25% of the student His to other roughly message newly body) came out to vote last elected members is that they Thursday, and to decide the should do their best to be Dave future of the University at the accountable, and to be visible Prang 822 2001 elections. to the student body, either by iteOOfofe The big winners were Dave means of "getting out there and who was elected to Eric Davis 605 WM\ms Chris Ellis 1161 Prang, as talking them, or by wearing $8® WLUSU President and CEO, reflective vests at the start of the Dave elected Wellhauser, as school year." Nathan §9dqq®oo Nathan Executive Vice President of Chris Ellis received a more- 336 University Affairs, and Chris than-comfortable 78% of the Ludwig 146 Ludwig Ellis who his as in WLUSP won place vote the run for WLUSP President. All of the President. He intends to spend Spoiled 118 §(P®SD©d] @4} Spoiled 195 referendum questions were the next while meeting with passed, with the exception of other student government mem- even though about the same the LIFT proposal, making it bers, going through the training Referendum Results number of candidates were run- only the second referendum Ellis looks forward to process. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE SELF-PERCEPTION OF VIDEO GAME JOURNALISM: INTERVIEWS WITH GAMES WRITERS REGARDING THE STATE OF THE PROFESSION A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By Severin Justin Poirot Norman, Oklahoma 2019 THE SELF-PERCEPTION OF VIDEO GAME JOURNALISM: INTERVIEWS WITH GAMES WRITERS REGARDING THE STATE OF THE PROFESSION A DISSERTATION APPROVED FOR THE GAYLORD COLLEGE OF JOURNALISM AND MASS COMMUNICATION BY Dr. David Craig, Chair Dr. Eric Kramer Dr. Jill Edy Dr. Ralph Beliveau Dr. Julie Jones © Copyright by SEVERIN JUSTIN POIROT 2019 All Rights Reserved. iv Acknowledgments I’ve spent a lot of time and hand wringing wondering what I was going to say here and whom I was going to thank. First of all I’d like to thank my committee chair Dr. David Craig. Without his guidance, patience and prayers for my well-being I don’t know where I would be today. I’d like to also thank my other committee members: Dr. Eric Kramer, Dr. Julie Jones, Dr. Jill Edy, and Dr. Ralph Beliveau. I would also like to thank former member Dr. Namkee Park for making me feel normal for researching video games. Second I’d like to thank my colleagues at the University of Oklahoma who were there in the trenches with me for years: Phil Todd, David Ferman, Kenna Griffin, Anna Klueva, Christal Johnson, Jared Schroeder, Chad Nye, Katie Eaves, Erich Sommerfeldt, Aimei Yang, Josh Bentley, Tara Buehner, Yousuf Mohammad and Nur Uysal. I also want to extend a special thanks to Bryan Carr, who possibly is a bigger nerd than me and a great help to me in finishing this study. -
Every Purchase Includes a Free Hot Drink out of Stock, but Can Re-Order New Arrival / Re-Stock
every purchase includes a free hot drink out of stock, but can re-order new arrival / re-stock VINYL PRICE 1975 - 1975 £ 22.00 30 Seconds to Mars - America £ 15.00 ABBA - Gold (2 LP) £ 23.00 ABBA - Live At Wembley Arena (3 LP) £ 38.00 Abbey Road (50th Anniversary) £ 27.00 AC/DC - Live '92 (2 LP) £ 25.00 AC/DC - Live At Old Waldorf In San Francisco September 3 1977 (Red Vinyl) £ 17.00 AC/DC - Live In Cleveland August 22 1977 (Orange Vinyl) £ 20.00 AC/DC- The Many Faces Of (2 LP) £ 20.00 Adele - 21 £ 19.00 Aerosmith- Done With Mirrors £ 25.00 Air- Moon Safari £ 26.00 Al Green - Let's Stay Together £ 20.00 Alanis Morissette - Jagged Little Pill £ 17.00 Alice Cooper - The Many Faces Of Alice Cooper (Opaque Splatter Marble Vinyl) (2 LP) £ 21.00 Alice in Chains - Live at the Palladium, Hollywood £ 17.00 ALLMAN BROTHERS BAND - Enlightened Rogues £ 16.00 ALLMAN BROTHERS BAND - Win Lose Or Draw £ 16.00 Altered Images- Greatest Hits £ 20.00 Amy Winehouse - Back to Black £ 20.00 Andrew W.K. - You're Not Alone (2 LP) £ 20.00 ANTAL DORATI - LONDON SYMPHONY ORCHESTRA - Stravinsky-The Firebird £ 18.00 Antonio Carlos Jobim - Wave (LP + CD) £ 21.00 Arcade Fire - Everything Now (Danish) £ 18.00 Arcade Fire - Funeral £ 20.00 ARCADE FIRE - Neon Bible £ 23.00 Arctic Monkeys - AM £ 24.00 Arctic Monkeys - Tranquility Base Hotel + Casino £ 23.00 Aretha Franklin - The Electrifying £ 10.00 Aretha Franklin - The Tender £ 15.00 Asher Roth- Asleep In The Bread Aisle - Translucent Gold Vinyl £ 17.00 B.B. -
SUNDANCE SCREENING TIMES 1/20 Yarrow Hotel Theatre 3:00
SUNDANCE SCREENING TIMES 1/20 Yarrow Hotel Theatre 3:00 pm 1/21 Redstone Cinema 8 12:30pm 1/21 Holiday Village Cinema 2 9:30pm (Press & Industry) 1/22 Salt Lake City Library 12:00 pm 1/25 Prospector Square Theatre 11:30 am 1/28 Holiday Village Cinema 2 12:15 pm FILM SPECIFICATIONS TITLE: Indie Game: The Movie GENRE: Documentary DURATION: 96 mins SCREEN RATIO: 16:9 FORMAT: HD CAM SOUND: Dolby Digital Surround SALES CONTACT PRESS CONTACT Andrew Herwitz (US & Canada) Jonathan Epstein The Film Sales Company Strategy PR/Consulting TEL: 212.481.5020 TEL: 646.918.8774 CELL: 917.885.6057 CELL: 646.660.5873 [email protected] [email protected] DIRECTOR CONTACT Lisanne Pajot & James Swirsky, Directors/Producers EMAIL: [email protected] WEBSITE: http://www.indiegamethemovie.com/ FACEBOOK: https://www.facebook.com/IndieGameTheMovie TWITTER: http://twitter.com/indiegamemovie FILM TRAILER Vimeo: http://vimeo.com/25268139 Youtube: http://www.youtube.com/watch?v=YtBZ68Fx1Kw STILLS http://www.indiegamethemovie.com/press CREDITS OPENING CREDITS BlinkWorks Presents A Flutter Media Production Music by Jim Guthrie Cinematography and Editing by Lisanne Pajot and James Swirsky Directed by Lisanne Pajot and James Swirsky END CREDITS Directed by Lisanne Pajot and James Swirsky Music by Jim Guthrie This film was made possible by the kind people of the Internet. Dedicated to Memory of Mary Guerts, Cécile Pajot and Patti Simmons Featuring Produced by Lisanne Pajot and James Swirsky Jonathan Blow Executive Producers Jeff Lindsay, -
HOW to PLAY with MAPS by Ross Thorn Department of Geography, UW-Madison a Thesis Submitted in Partial Fulfillment of the Require
HOW TO PLAY WITH MAPS by Ross Thorn Department of Geography, UW-Madison A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science (Geographic Information Science and Cartography) at the UNIVERSITY OF WISCONSIN–MADISON 2018 i Acknowledgments I have so many people to thank for helping me through the process of creating this thesis and my personal development throughout my time at UW-Madison. First, I would like to thank my advisor Rob Roth for supporting this seemingly crazy project and working with me despite his limited knowledge about games released after 1998. Your words of encouragement and excitement for this project were invaluable to keep this project moving. I also want to thank my ‘second advisor’ Ian Muehlenhaus for not only offering expert guidance in cartography, but also your addictive passion for games and their connection to maps. You provided endless inspiration and this research would not have been possible without your support and enthusiasm. I would like to thank Leanne Abraham and Alicia Iverson for reveling and commiserating with me through the ups and downs of grad school. You both are incredibly inspirational to me and I look forward to seeing the amazing things that you will undoubtedly accomplish in life. I would also like to thank Meghan Kelly, Nick Lally, Daniel Huffman, and Tanya Buckingham for creating a supportive and fun atmosphere in the Cartography Lab. I could not have succeeded without your encouragement and reminder that we all deserve to be here even if we feel inadequate. You made my academic experience unforgettable and I love you all. -
Amd A10 7700K
SOUTH AFRICA’S LEADING GAMING, COMPUTER & TECHNOLOGY MAGAZINE APRIL 2014 WIN A PC / PLAYSTATIPLAYSTATIONONON / XBOXXBBOX / NINTENDONININTN ENNDODO / LLIFESTYLEIIFFEESSTYTYLELE PS4 EIGHT REVIEWS INCLUDING Castlevania: Lords of Shadow 2 Final Fantasy XIII: Lightning Returns Plants vs. Zombies: Garden Warfare Thief IT’S CLASSIC! IT’S MODERN! COULD THIS BE EVERYTHING WE WANT IN AN FPS? PUBLISHER Michael “RedTide“ James [email protected] CONTENTS EDITOR Geoff “GeometriX“ Burrows geoff @nag.co.za ART DIRECTOR Chris “SAVAGE“ Savides STAFF WRITERS Dane “Barkskin “ Remendes Tarryn “Azimuth “ van der Byl REGULARS CONTRIBUTING EDITOR Lauren “Guardi3n “ Das Neves 8 Ed's Note 10 Inbox TECHNICAL WRITER Neo “ShockG“ Sibeko 14 Bytes 26 home_coded INTERNATIONAL 74 Mosh Pit CORRESPONDENT Miktar “Miktar” Dracon CONTRIBUTORS OPINION Rodain “Nandrew” Joubert Miklós “Mikit0707 “ Szecsei 14 Miktar’s Meanderingserings Pippa “UnexpectedGirl” Tshabalala 16 I, Gamer Delano “Delano” Cuzzucoli Matt “Sand_Storm” Fick 18 The Game Stalkerer 56 Hardwired FEATURES PHOTOGRAPHY 82 Game Over Chris “SAVAGE“ Savides 36 WOLFENSTEIN: THE NEW Dreamstime.com Fotolia.com ORDER. MEIN LEBEN! PREVIEWS “There ain’t no school like the old SALES EXECUTIVE school.” That’s how it goes, right? Cheryl “Cleona“ Harris 32 The Elder Scrolls Online Or did we just fail hard at being [email protected] 34 WildStar youthful and hippity-hopping? +27 72 322 9875 Does it even matter? Either way, MARKETING AND Wolfenstein: The New Order PROMOTIONS MANAGER REVIEWS eagerly partakes of the old school Jacqui “Jax” Jacobs of fi rst-person shooter-ising. [email protected] 44 Reviews: Introduction And boy, does it look positively +27 82 778 8439 44 Mini review: Fable: scrumptious. -
Independent Video Games and the Games ‘Indiestry’ Spectrum: Dissecting the Online Discourse of Independent Game Developers in Industry Culture By
Independent Video Games and the Games ‘Indiestry’ Spectrum: Dissecting the Online Discourse of Independent Game Developers in Industry Culture by Robin Lillian Haislett, B.S., M.A. A Dissertation In Media and Communication Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Robert Moses Peaslee Chair of Committee Dr. Todd Chambers Dr. Megan Condis Dr. Wyatt Philips Mark Sheridan Dean of the Graduate School December, 2019 Copyright 2019, Robin Lillian Haislett Texas Tech University, Robin Lillian Haislett, December 2019 ACKNOWLEDGMENTS This is the result of the supremely knowledgeable Dr. Robert Moses Peaslee who took me to Fantastic Fest Arcade in 2012 as part of a fandom and fan production class during my doctoral work. This is where I met many of the independent game designers I’ve come to know and respect while feeling this renewed sense of vigor about my academic studies. I came alive when I discovered this area of study and I still have that spark every time I talk about it to others or read someone else’s inquiry into independent game development. For this, I thank Dr. Peaslee for being the catalyst in finding a home for my passions. More pertinent to the pages that follow, Dr. Peaslee also carefully combed through each malformed draft I sent his way, narrowed my range of topics, encouraged me to keep my sense of progress and challenged me to overcome challenges I had not previously faced. I feel honored to have worked with him on this as well as previous projects. -
Playnetwork Business Mixes
PlayNetwork Business Mixes 50s to Early 60s Marketing Strategy: Period themes, burgers and brews and pizza, bars, happy hour Era: Classic Compatible Music Styles: Fun-Time Oldies, Classic Description: All tempos and styles that had hits Rock, 70s Mix during the heyday of the 50s and into the early 60s, including some country as well Representative Artists: Elvis, Fats Domino, Steve 70s Mix Lawrence, Brenda Lee, Dinah Washington, Frankie Era: 70s Valli and the Four Seasons, Chubby Checker, The Impressions Description: An 8-track flashback of great music Appeal: People who can remember and appreciate from the 70s designed to inspire memories for the major musical moments from this era everyone. Featuring hits and historically significant album cuts from the “Far Out!,” Bob Newhart, Sanford Feel: All tempos and Son era Marketing Strategy: Hamburger/soda fountain– Representative Artists: The Eagles, Elton John, themed cafes, period-themed establishments, bars, Stevie Wonder, Jackson Brown, Gerry Rafferty, pizza establishments and clothing stores Chicago, Doobie Brothers, Brothers Johnson, Alan Parsons Project, Jim Croce, Joni Mitchell, Sugarloaf, Compatible Music Styles: Jukebox classics, Donut Steely Dan, Earth Wind & Fire, Paul Simon, Crosby, House Jukebox, Fun-Time Oldies, Innocent 40s, 50s, Stills, and Nash, Creedence Clearwater Revival, 60s Average White Band, Bachman-Turner Overdrive, Electric Light Orchestra, Fleetwood Mac, Guess Who, 60s to Early 70s Billy Joel, Jefferson Starship, Steve Miller Band, Carly Simon, KC & the Sunshine Band, Van Morrison Era: Classic Feel: A warm blanket of familiar music that helped Description: Good-time pop and rock legends from define the analog sound of the 70s—including the the mid-60s through the early-to-mid-70s that marked one-hit wonders and the best known singer- the end of an era. -
The Machine Strikes Back: an Original Composition for Electronic Media
THE MACHINE STRIKES BACK: AN ORIGINAL COMPOSITION FOR ELECTRONIC MEDIA A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY DAVID SCHULTZ DISSERTATION CHAIR: DR. KEITH KOTHMAN BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2014 ABSTRACT DISSERTATION: The Machine Strikes Back: An Original Composition for Electronic Media STUDENT: David Schultz DEGREE: Doctor of Arts COLLEGE: Fine Arts DATE: December 2014 PAGES: 53 The Machine Strikes Back is an original composition in three movements created through the use of electronic media. The focus of the work is the use of audio samples taken from published recordings of popular guitarist Tom Morello as the basis of the construction of the piece. Several modification techniques were used to edit the samples and re-contextualize them into new content, including sample slicing, time-stretching, and filter modulation. Through this seventeen-minute work, the composer explores ideas of altering and re-contextualizing a fixed- sample set to create new forms of artistic expression. The accompanying document provides historical context for the piece and a discussion of the musical elements and compositional processes used in the work. An overview of the use of audio samples in musical composition is provided, including a discussion on the practices of partial and total importation, as well as remixing. The review of repertoire considers a selection of recent works that represent varied uses of samples in the creation of new musical content. The methodology chapter provides an overview of the composer's inspiration and goals for the work, as well as an introduction to the compositional techniques and electronic processes used throughout each movement.