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Vintage Game Consoles: an INSIDE LOOK at APPLE, ATARI
Vintage Game Consoles Bound to Create You are a creator. Whatever your form of expression — photography, filmmaking, animation, games, audio, media communication, web design, or theatre — you simply want to create without limitation. Bound by nothing except your own creativity and determination. Focal Press can help. For over 75 years Focal has published books that support your creative goals. Our founder, Andor Kraszna-Krausz, established Focal in 1938 so you could have access to leading-edge expert knowledge, techniques, and tools that allow you to create without constraint. We strive to create exceptional, engaging, and practical content that helps you master your passion. Focal Press and you. Bound to create. We’d love to hear how we’ve helped you create. Share your experience: www.focalpress.com/boundtocreate Vintage Game Consoles AN INSIDE LOOK AT APPLE, ATARI, COMMODORE, NINTENDO, AND THE GREATEST GAMING PLATFORMS OF ALL TIME Bill Loguidice and Matt Barton First published 2014 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2014 Taylor & Francis The right of Bill Loguidice and Matt Barton to be identified as the authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
The Impact of Multichannel Game Audio on the Quality of Player Experience and In-Game Performance
The Impact of Multichannel Game Audio on the Quality of Player Experience and In-game Performance Joseph David Rees-Jones PhD UNIVERSITY OF YORK Electronic Engineering July 2018 2 Abstract Multichannel audio is a term used in reference to a collection of techniques designed to present sound to a listener from all directions. This can be done either over a collection of loudspeakers surrounding the listener, or over a pair of headphones by virtualising sound sources at specific positions. The most popular commercial example is surround-sound, a technique whereby sounds that make up an auditory scene are divided among a defined group of audio channels and played back over an array of loudspeakers. Interactive video games are well suited to this kind of audio presentation, due to the way in which in-game sounds react dynamically to player actions. Employing multichannel game audio gives the potential of immersive and enveloping soundscapes whilst also adding possible tactical advantages. However, it is unclear as to whether these factors actually impact a player’s overall experience. There is a general consensus in the wider gaming community that surround-sound audio is beneficial for gameplay but there is very little academic work to back this up. It is therefore important to investigate empirically how players react to multichannel game audio, and hence the main motivation for this thesis. The aim was to find if a surround-sound system can outperform other systems with fewer audio channels (like mono and stereo). This was done by performing listening tests that assessed the perceived spatial sound quality and preferences towards some commonly used multichannel systems for game audio playback over both loudspeakers and headphones. -
Downloading the Video to Their Device (See Figure 3-63)
NORTHWESTERN UNIVERSITY Compositional Possibilities of New Interactive and Immersive Digital Formats A DISSERTATION SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Composition By Daniel R. Dehaan EVANSTON, IL (June 2019) 2 Abstract From 2008 to 2019, a range of new interactive and immersive digital formats that present new possibilities for musical and artistic expression have become available. In order to begin the work of uncovering what new compositional and experiential possibilities are now possible, this document will examine each format’s core concepts and tools, cataloging the current state of related technologies. It also provides a survey of each format’s representative works, including a discussion of my original and evolving work for virtual reality, Infinite Void. The ultimate goal of this dissertation is to serve as a point of departure for composers interested in working with and influencing the direction that musical and creative expression will take in these immersive and interactive digital environments. 3 Acknowledgments This document would not have been possible without countless individuals to whom I owe more than just the acknowledgements of this page. To my committee members, Chris Mercer, Hans Thomalla, and Stephan Moore, who made themselves available from all corners of the globe and encouraged me to keep going even when it seemed like no end was in sight. To Donna Su, who kept me on track and moving forward throughout my entire time at Northwestern. To my readers, Nick Heinzmann and Caleb Cuzner, without whom I don’t think I would have ever been able to finish. -
Gaikai - Wikipedia Case 3:19-Cv-07027-WHA Document 28-2 Filed 10/14/19 Page 2 of 8 Not Logged in Talk Contributions Create Account Log In
Case 3:19-cv-07027-WHA Document 28-2 Filed 10/14/19 Page 1 of 8 EXHIBIT B Gaikai - Wikipedia Case 3:19-cv-07027-WHA Document 28-2 Filed 10/14/19 Page 2 of 8 Not logged in Talk Contributions Create account Log in Article Talk Read Edit View history Gaikai From Wikipedia, the free encyclopedia Main page Gaikai (外海, lit. "open sea", i.e. an expansive outdoor space) is an American company which provides technology for the streaming of high- Contents Gaikai Featured content end video games.[1] Founded in 2008, it was acquired by Sony Interactive Entertainment in 2012. Its technology has multiple applications, Current events including in-home streaming over a local wired or wireless network (as in Remote Play between the PlayStation 4 and PlayStation Vita), as Random article well as cloud-based gaming where video games are rendered on remote servers and delivered to end users via internet streaming (such as Donate to Wikipedia the PlayStation Now game streaming service.[2]) As a startup, before its acquisition by Sony, the company announced many partners using Wikipedia store [3] the technology from 2010 through 2012 including game publishers, web portals, retailers and consumer electronics manufacturers. On July Founded November 2008 Interaction 2, 2012, Sony announced that a formal agreement had been reached to acquire the company for $380 million USD with plans of establishing Headquarters Aliso Viejo, California, U.S. [4] Help their own new cloud-based gaming service, as well as integrating streaming technology built by Gaikai into PlayStation products, resulting Owner Sony [5] [6] About Wikipedia in PlayStation Now and Remote Play. -
Playstation 4 - Wikipedia Case 3:19-Cv-07027-WHA Document 28-3 Filed 10/14/19 Page 2 of 19 Not Logged in Talk Contributions Create Account Log In
Case 3:19-cv-07027-WHA Document 28-3 Filed 10/14/19 Page 1 of 19 EXHIBIT C PlayStation 4 - Wikipedia Case 3:19-cv-07027-WHA Document 28-3 Filed 10/14/19 Page 2 of 19 Not logged in Talk Contributions Create account Log in Article Talk Read View source View history PlayStation 4 From Wikipedia, the free encyclopedia Main page Contents "PS4" redirects here. For other uses, see PS4 (disambiguation). Featured content The PlayStation 4 (officially abbreviated as PS4) is an eighth-generation home video game console developed by Sony Interactive Current events PlayStation 4 Entertainment. Announced as the successor to the PlayStation 3 in February 2013, it was launched on November 15 in North Random article Donate to Wikipedia America, November 29 in Europe, South America and Australia, and on February 22, 2014, in Japan. It competes with Microsoft's Wikipedia store Xbox One and Nintendo's Wii U and Switch. Moving away from the more complex Cell microarchitecture of its predecessor, the console features an AMD Accelerated Processing Interaction Unit (APU) built upon the x86-64 architecture, which can theoretically peak at 1.84 teraflops; AMD stated that it was the "most Help powerful" APU it had developed to date. The PlayStation 4 places an increased emphasis on social interaction and integration with About Wikipedia Community portal other devices and services, including the ability to play games off-console on PlayStation Vita and other supported devices ("Remote Recent changes Play"), the ability to stream gameplay online or to friends, with them controlling gameplay remotely ("Share Play"). -
Playstation Network - Wikipedia Case 3:19-Cv-07027-WHA Document 28-1 Filed 10/14/19 Page 2 of 8 Not Logged in Talk Contributions Create Account Log In
Case 3:19-cv-07027-WHA Document 28-1 Filed 10/14/19 Page 1 of 8 EXHIBIT A PlayStation Network - Wikipedia Case 3:19-cv-07027-WHA Document 28-1 Filed 10/14/19 Page 2 of 8 Not logged in Talk Contributions Create account Log in Article Talk Read Edit View history PlayStation Network From Wikipedia, the free encyclopedia Main page Contents "PSN" redirects here. For other uses, see PSN (disambiguation). Featured content PlayStation Network (PSN) is a digital media entertainment service provided by Sony Interactive Entertainment. Launched in November Current events PlayStation Network 2006, PSN was originally conceived for the PlayStation video game consoles, but soon extended to encompass smartphones, tablets, Random article Donate to Wikipedia Blu-ray players and high-definition televisions. As of April 2016, over 110 million users have been documented, with 94 million of them [2][3] Wikipedia store active monthly as of May 2019. Developer Sony Interactive Entertainment PlayStation Network's services are dedicated to an online marketplace (PlayStation Store), a premium subscription service for enhanced Interaction Type Online service gaming and social features (PlayStation Plus), movie streaming, rentals and purchases (PlayStation Video), a cloud-based television Help Launch November 11, 2006; 12 years ago programming service (PlayStation Vue), music streaming (PlayStation Music, powered by Spotify) and a cloud gaming service About Wikipedia date (PlayStation Now). The service is available in 73 territories.[4] Community portal Platform Video -
Gaikai - Wikipedia Case 1:19-Cv-07529-DLC Document 28-2 Filed 10/14/19 Page 2 of 8 Not Logged in Talk Contributions Create Account Log In
Case 1:19-cv-07529-DLC Document 28-2 Filed 10/14/19 Page 1 of 8 EXHIBIT B Gaikai - Wikipedia Case 1:19-cv-07529-DLC Document 28-2 Filed 10/14/19 Page 2 of 8 Not logged in Talk Contributions Create account Log in Article Talk Read Edit View history Gaikai From Wikipedia, the free encyclopedia Main page Gaikai (外海, lit. "open sea", i.e. an expansive outdoor space) is an American company which provides technology for the streaming of high- Contents Gaikai Featured content end video games.[1] Founded in 2008, it was acquired by Sony Interactive Entertainment in 2012. Its technology has multiple applications, Current events including in-home streaming over a local wired or wireless network (as in Remote Play between the PlayStation 4 and PlayStation Vita), as Random article well as cloud-based gaming where video games are rendered on remote servers and delivered to end users via internet streaming (such as Donate to Wikipedia the PlayStation Now game streaming service.[2]) As a startup, before its acquisition by Sony, the company announced many partners using Wikipedia store [3] the technology from 2010 through 2012 including game publishers, web portals, retailers and consumer electronics manufacturers. On July Founded November 2008 Interaction 2, 2012, Sony announced that a formal agreement had been reached to acquire the company for $380 million USD with plans of establishing Headquarters Aliso Viejo, California, U.S. [4] Help their own new cloud-based gaming service, as well as integrating streaming technology built by Gaikai into PlayStation products, resulting Owner Sony [5] [6] About Wikipedia in PlayStation Now and Remote Play. -
Wwise Unreal Integration Requirements
Main Page Wwise Unreal Integration Requirements Unreal Engine Each release of the Unreal Wwise plug-in is customized for certain versions of the Unreal Engine. Be sure to use one of the supported versions of the Unreal Engine, as indicated in What's New? The latest supported Unreal version for this plug-in is Unreal Engine 4.18. Wwise This plug-in is based on Wwise 2017.2.1 build 6524.; while it is possible to use an alternate version of the Wwise SDK, modifications to the plug- in code may be necessary. Platforms This plug-in has been tested on Windows, Mac, Linux (SteamOS), Xbox One, PlayStation 4, Android, and iOS. Modifications may be required to target other platforms. Development Environment Setup Please refer to the UE4 documentation: "Downloading Unreal Engine Source Code" "Setting Up Visual Studio for UE4" "Building Unreal Engine from Source" Generated by 1.6.3 Main Page Wwise Unreal Integration Installation Before proceeding, review the Requirements page and make sure the appropriate versions of the Unreal Engine, Unreal Wwise plug-in, and Wwise are used. This UE4 integration package contains files related to the Wwise plug-in only; it does not contain the entire Unreal Engine source code, nor the Wwise SDK. Installation Procedure There are two ways of installing the Unreal Wwise plug-in: either as a game plug-in or as an engine plug-in - not both. Note: For more information on the difference between engine and game plug-ins (sometimes referred to as "installed" plug-ins), please refer to the Unreal Engine Wiki. -
An Investigation Into the Uncanny Character Design, Behaviour and Context
AN INVESTIGATION INTO THE UNCANNY CHARACTER DESIGN, BEHAVIOUR AND CONTEXT SAFA THARIB A thesis submitted in partial fulfilment of the requirements of the Media School of Bournemouth University for the degree of Doctor of Philosophy 2013 1 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. 2 Abstract Whilst there has been a substantial amount of research into the uncanny valley, defining research that contextualises a character as they would normally be viewed remains an unexplored area. Often previous research focused solely on realistic render styles giving characters an unfair basis that tended towards the realistic, thus facilitating only one mode of animation style: realism. Furthermore, characters were not contextualized because researchers often used footage from previous productions. These characters also differed in quality as various artists worked on different productions. This research considers characterisation as three key components, the aesthetic, the behaviour and the contextualisation. Attempts were made to develop a greater understanding of how these components contribute to the appeal of a character within the field of 3D computer animation. Research consisted of two experiments. Both experiments were conducted using an online survey method. The first experiment used five different characters ranging from realistic to abstract. Each character displayed three different behaviours and the characters were contextualized within a six panel narrative. Data obtained from the first experiment was used to refine the second experiment. -
Ac/E Digital Culture Annual Report 2016
AC/E DIGITAL CULTURE ANNUAL REPORT 2016 Smart Culture: Impact of the Internet on Artistic Creation Focus: Use of New Digital Technologies at Cultural Festivals AC/E DIGITAL CULTURE ANNUAL REPORT 2016 Smart Culture: Impact of the Internet on Acción Cultural ArtisticAcción Cultural Creation Española Española www.accioncultural.es Focus: Use of New Digital Technologies at Cultural Festivals Acción Cultural Acción Cultural Española Española www.accioncultural.es Spain’s Public Agency Spain’s Public Agency for Cultural Action for Cultural Action www.accioncultural.es Spain’s Public Agency Spain’s Public Agency for Cultural Action for Cultural Action www.accioncultural.es ‘A more open, egalitarian, participatory, and sustainable culture is profoundly worth championing, but technology alone cannot bring it into being. Left to race along its current course, the new order will come increasingly to resemble the old, and may end up worse in many ways. But the future has not been decided.’ Astra Taylor, The People’s Platform: Taking Back Power and Culture in the Digital Age (Metropolitan Books, 2014) Following the excellent reception of the first the often too much but never enough data. two editions of the AC/E Digital Culture Annual The chosen topics explore the pathways of the Report (2014 and 2015) – more than 5,000 copies new collaborative economy; analyse its impact of each have been distributed over the past two on artistic creation; examine the new space years – we are pleased to share with culture for interaction between people, machines and sector professionals the third edition, which sets industries; and explain the changes that have out to analyse the impact of new technologies taken place in markets and in how artworks are on artistic creation and their use at cultural produced and sold.