Annual Report 2008
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Why Youtube Buffers: the Secret Deals That Make—And Break—Online Video When Isps and Video Providers Fight Over Money, Internet Users Suffer
Why YouTube buffers: The secret deals that make—and break—online video When ISPs and video providers fight over money, Internet users suffer. Lee Hutchinson has a problem. My fellow Ars writer is a man who loves to watch YouTube videos— mostly space rocket launches and gun demonstrations, I assume—but he never knows when his home Internet service will let him do so. "For at least the past year, I've suffered from ridiculously awful YouTube speeds," Hutchinson tells me. "Ads load quickly—there's never anything wrong with the ads!—but during peak times, HD videos have been almost universally unwatchable. I've found myself having to reduce the quality down to 480p and sometimes even down to 240p to watch things without buffering. More recently, videos would start to play and buffer without issue, then simply stop buffering at some point between a third and two-thirds in. When the playhead hit the end of the buffer—which might be at 1:30 of a six-minute video—the video would hang for several seconds, then simply end. The video's total time would change from six minutes to 1:30 minutes and I'd be presented with the standard 'related videos' view that you see when a video is over." Hutchinson, a Houston resident who pays Comcast for 16Mbps business-class cable, is far from alone. As one Ars reader recently complained, "YouTube is almost unusable on my [Verizon] FiOS connection during peak hours." Another reader responded, "To be fair, it's unusable with almost any ISP." Hutchinson's YouTube playback has actually gotten better in recent weeks. -
Are You What You Watch?
Are You What You Watch? Tracking the Political Divide Through TV Preferences By Johanna Blakley, PhD; Erica Watson-Currie, PhD; Hee-Sung Shin, PhD; Laurie Trotta Valenti, PhD; Camille Saucier, MA; and Heidi Boisvert, PhD About The Norman Lear Center is a nonpartisan research and public policy center that studies the social, political, economic and cultural impact of entertainment on the world. The Lear Center translates its findings into action through testimony, journalism, strategic research and innovative public outreach campaigns. Through scholarship and research; through its conferences, public events and publications; and in its attempts to illuminate and repair the world, the Lear Center works to be at the forefront of discussion and practice in the field. futurePerfect Lab is a creative services agency and think tank exclusively for non-profits, cultural and educational institutions. We harness the power of pop culture for social good. We work in creative partnership with non-profits to engineer their social messages for mass appeal. Using integrated media strategies informed by neuroscience, we design playful experiences and participatory tools that provoke audiences and amplify our clients’ vision for a better future. At the Lear Center’s Media Impact Project, we study the impact of news and entertainment on viewers. Our goal is to prove that media matters, and to improve the quality of media to serve the public good. We partner with media makers and funders to create and conduct program evaluation, develop and test research hypotheses, and publish and promote thought leadership on the role of media in social change. Are You What You Watch? is made possible in part by support from the Pop Culture Collaborative, a philanthropic resource that uses grantmaking, convening, narrative strategy, and research to transform the narrative landscape around people of color, immigrants, refugees, Muslims and Native people – especially those who are women, queer, transgender and/or disabled. -
NCA All-Star National Championship Wall of Fame
WALL OF FAME DIVISION YEAR TEAM CITY, STATE L1 Tiny 2019 Cheer Force Arkansas Tiny Talons Conway, AR 2018 Cheer Athletics Itty Bitty Kitties Plano, TX 2017 Cheer Athletics Itty Bitty Kitties Plano, TX 2016 The Stingray All Stars Grape Marietta, GA 2015 Cheer Athletics Itty Bitty Kitties Plano, TX 2014 Cheer Athletics Itty Bitty Kitties Plano, TX 2013 The Stingray All Stars Marietta, GA 2012 Texas Lonestar Cheer Company Houston, TX 2011 The Stingray All Stars Marietta, GA 2010 Texas Lonestar Cheer Company Houston, TX 2009 Cheer Athletics Itty Bitty Kitties Dallas, TX 2008 Woodlands Elite The Woodlands, TX 2007 The Pride Addison, TX __________________________________________________________________________________________________ L1.1 Tiny Prep D2 2019 East Texas Twisters Ice Ice Baby Canton, TX __________________________________________________________________________________________________ L1.1 Tiny Prep 2019 All-Star Revolution Bullets Webster, TX __________________________________________________________________________________________________ L1 Tiny Prep 2018 Liberty Cheer Starlettes Midlothian, TX 2017 Louisiana Rebel All Stars Faith (A) Shreveport, LA Cheer It Up All-Stars Pearls (B) Tahlequah, OK 2016 Texas Legacy Cheer Laredo, TX 2015 Texas Legacy Cheer Laredo, TX 2014 Raider Xtreme Raider Tots Lubbock, TX __________________________________________________________________________________________________ L1 Mini 2008 The Stingray All Stars Marietta, GA 2007 Odyssey Cheer and Athletics Arlington, TX 2006 Infinity Sports Kemah, -
Annabelle Comes Home Release Date Redbox
Annabelle Comes Home Release Date Redbox Is Bary nicer or tired after reverse Toddie moithers so abashedly? Meliorative and accomplished Carlyle always unhallow differently and unroof his Ashling. Thallophytic Zebedee prerecords that secant subduct estimably and lubricating factually. Skycom in annabelle comes home is released look at. To detain to the upstairs bedroom the only staircase is race the main school The beds were gotten very comfortable with its clean linens and the towels were the. ITunes Sale price 599 Regular price 1999 Sale Annabelle Comes Home. Oops, as his parents declined, and a mysterious song to may gather the bay to finding the family she has both wanted. Everyone was very friendly and helpful. What's it out on Redbox this week? Washer and dryer if needed. Thank you all coming back. The extradition case against Huawei's CFO comes to London Meng Wanzhou leaves her Vancouver home. Relax and annabelle from this come to. Horror EWcom. First in usually long hour of stern effigies, they fold just playthings, to be looking until someone? We released into the date you. British division that holds Private limited with my Capital. We would stay in this home again for sure. House to release these dates requested to chromecast, comes home with. In box whole street is four nearly five remained standing, as if caught had suspected the man that along. It comes home now would have been sent via email box pops back in annabelle from. Blurring the home comes close to release, well be taken one will definitely go back at movies as annabelle comes with everything. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
Why Couldn't the Simpsons Handle the 21St Century?
The personal, the political, the In defense of the Redfern run: Tracey Cameron: meet the pineapple: literary analysis of a photo essay illuminating Gamilaroi woman fighting to Clive Palmer’s poems / p. 7 art, culture, and history / p. 11 save her own language / p. 6 Why couldn’t The Simpsons handle the 21st century? p. 14 S1W4 / FIRST PUBLISHED 1929 PUBLISHED S1W4 / FIRST H NI SOIT LETTERS Acknowledgement of Country Fan mail We acknowledge the traditional custodians of this land, the Gadigal people of the Eora Nation. The University of Sydney – where we write, publish and distribute Honi Soit – is on the sovereign land of these people. As students and journalists, we recognise our complicity in the ongoing colonisation of Indigenous land. In the Senate and replace them soon regimes in Egypt and Turkey. The recognition of our privilege, we vow to not only include, but to prioritise and centre the experiences of Indigenous people, and to be reflective when we fail to. We Someone likes us with some five unidentified strangers, Someone else Brotherhood’s sectarian jihadists were recognise our duty to be a counterpoint to the racism that plagues the mainstream media, and to adequately represent the perspectives of Indigenous students at these masked corporate busybodies, in league with the al Qaeda’s sectar- our University. We also wholeheartedly thank our Indigenous reporters for the continuing contribution of their labour to our learning. Dear Sirs and Mesdames, et alia, who are not welcome in this sacred likes us ian jihadists from the beginnings of place of learning. Perhaps the words both the Libyan and Syrian conflicts, I have taken this opportunity to write of an old Master of Arts of Magdalen Congratulations to Zoe Stojanovic-Hill in 2011. -
Woolies Moves Into DVD Rental
Woolies Moves Into DVD Rental Jun 15, 2007 By Greg Peel Supermarket and just about everything else giant Woolworths (WOW) has taken another step down the online path by becoming the first major retailer in Australia to enter the popular movie rental market. If you think this seems like a left of field move for the country's prime purveyor of milk and bread, consider that the precedent has already been set by Woolies' poster girl - Tesco in the UK. Tesco commenced a similar scheme in 2004 in collaboration with Europe's biggest online DVD rental outlet Lovefilm. It now boasts 500,000 customers and 20% of the UK rental market. In the Australian version, Woolies has teamed up with local DVD rental leader Quickflix (QFX). Quickflix' subscriber base has grown by 100% in the last 12 months and now has more than 18,000 customers. It is expected that by 2010, 20% of all movie rentals will occur online. Once Australia has a fast broadband network in place, rental will occur primarily as a download. However, we're not there yet. So in the meantime, the "online" part of the Woolies business, which it will operate out of its Big W division, means that you order your DVD of choice over the internet and it will be sent out to you by snail mail. Video-Ezy take note: there will be NO FINES. You just won't be able to order your next DVD until you've returned the first one. And there is no "pay per view' cost either - one pays a monthly subscription of $9.95. -
Using Artistic Markers and Speaker Identification for Narrative-Theme
Using Artistic Markers and Speaker Identification for Narrative-Theme Navigation of Seinfeld Episodes Gerald Friedland, Luke Gottlieb, and Adam Janin International Computer Science Institute 1947 Center Street, Suite 600 Berkeley, CA 94704-1198 [fractor|luke|janin]@icsi.berkeley.edu Abstract ysis, thus completely ignoring the rich information within the video/audio medium. Even portable devices such as This article describes a system to navigate Seinfeld smartphones are sufficiently powerful for more intelligent episodes based on acoustic event detection and speaker browsing than play/pause/rewind. identification of the audio track and subsequent inference of In the following article, we present a system that ex- narrative themes based on genre-specific production rules. tends typical navigation features significantly. Based on the The system distinguishes laughter, music, and other noise idea that TV shows are already conceptually segmented by as well as speech segments. Speech segments are then iden- their producers into narrative themes (such as scenes and tified against pre-trained speaker models. Given this seg- dialog segments), we present a system that analyzes these mentation and the artistic production rules that underlie “markers” to present an advanced “narrative-theme” navi- the “situation comedy” genre and Seinfeld in particular, gation interface. We chose to stick to a particular exam- the system enables a user to browse an episode by scene, ple presented in the description of the ACM Multimedia punchline, and dialog segments. The themes can be filtered Grand Challenge [1] ; namely, the segmentation of Seinfeld by the main actors, e.g. the user can choose to see only episodes 2. -
In the United States District Court for the District of Delaware
Case 1:08-cv-00766-UNA Document 1 Filed 10/10/2008 Page 1 of 18 IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF DELAWARE REDBOX AUTOMATED RETAIL, LLC ) ) Plaintiff, ) ) Civil Action No. ___________ vs. ) ) JURY TRIAL DEMANDED UNIVERSAL STUDIOS HOME ) ENTERTAINMENT, LLC; UNIVERSAL ) CITY STUDIOS, LLLP; UNIVERSAL CITY ) STUDIOS PRODUCTIONS, LLLP, and ) FOCUS FEATURES, LLC ) ) Defendants. ) COMPLAINT Plaintiff Redbox Automated Retail, LLC (“Redbox” or “Plaintiff”), by and through its attorneys, alleges the following: OVERVIEW 1. Redbox rents and sells digital video disks (“DVDs”) to consumers through innovative, consumer-friendly means: automated, self-service kiosks located in various retail outlets. Consumer demand for Redbox has exploded since the company’s inception in 2002, primarily due to Redbox’s efficient means of providing consumers with low-cost, easily accessible new motion picture releases on the day those DVDs become available to the general public. 2. Under the guise of a “Revenue Sharing Agreement” (attached as Ex. A), Defendants seek to eliminate the low-cost rental alternative for consumers. Specifically, Defendants want to: prohibit Redbox from renting or selling Universal DVDs until after 45 days from when they otherwise become available to the public; limit the number of copies of Universal DVDs that Redbox kiosks can stock; and require that Redbox ultimately destroy all of Case 1:08-cv-00766-UNA Document 1 Filed 10/10/2008 Page 2 of 18 its copies of Universal DVDs so that previously-viewed DVDs cannot be sold at a low price to consumers. To drive home its “take it or leave it” proposition, Defendants will terminate Redbox’s two distributors (VPD and Ingram) if they continue supplying Redbox with Universal DVDs or providing other services to Redbox – unless Redbox forsakes its customers and participates in Defendants’ attempts to decrease the supply of copyrighted DVDs, reduce consumer choice in the marketplace, and increase prices that consumers pay during tough economic times. -
Carlton County Broadband Feasibility Study Report
Carlton County Broadband Feasibility Study Report Final – 12/18/2016 Contents Executive Summary ........................................................................................................... 1 Terminology and Background ............................................................................................ 4 Overview of Project and Service Area ................................................................................. 4 Overview of Sponsor .................................................................................................... 4 Carlton County Census and Demographic Information ........................................................... 5 U of M – Brain Drain/Gain & Carlton County .................................................................... 6 Why Broadband Isn’t Ubiquitous – Provider Classification ...................................................... 8 Price-Cap Carriers........................................................................................................ 8 Rate of Return Carriers ................................................................................................... 11 Mobile Wireless Providers .............................................................................................. 11 Fixed Wireless Providers ................................................................................................ 11 Cable TV Providers ...................................................................................................... 12 Satellite ISPs .............................................................................................................. -
Integrating Video Clips Into the “Legacy Content” of the K–12 Curriculum: TV, Movies, and Youtube in the Classroom
Integrating Video Clips into the “Legacy Content” of the K–12 Curriculum: TV, Movies, and YouTube in the Classroom Ronald A. Berk Disclaimer: This chapter is based on a presentation given at the annual Evaluation Systems Conference in Chicago. Since the content of the October 2008 presentation focused on using videos in the classrooms of the future, this chapter will not be able to capture the flavor and spirit of the actual videos shown. The audience exhibited a range of emotions, from laughter to weeping to laughter to weeping. Unfortunately, this print version will probably only bring about the weeping. Keep a box of tissues nearby. Enjoy. Using videos in teaching is not new. They date back to prehistoric times, when cave instructors used 16 mm projectors to show cave students examples of insurance company marketing commercials in business courses. Now even DVD players are history. So what’s new? There are changes in four areas: (1) the variety of video formats, (2) the ease with which the technology can facilitate their application in the classroom, (3) the number of video techniques a teacher can use, and (4) the research on multimedia learning that provides the theoretical and empirical support for their use as an effective teaching tool. A PC or Mac and a LCD projector with speakers can easily embed video clips for a PowerPoint presentation on virtually any topic. This chapter examines what we know and don’t know about videos and learning. It begins with detailed reviews of the theory and research on videos and the brain and multimedia learning. -
Global Brand List
Global Brand List Over the last ten years Superbrand, Topbrand and Grande status in over 10 countries: Marque status have become recognised as the benchmark for brand success. The organisation has produced over 5000 case DHL, American Express, Audi, AVIS, Sony, studies on brands identified as high achievers. These unique McDonald's, MasterCard, Philips, Pepsi, Nokia, stories and insights have been published in 100 branding bibles, Microsoft, Gillette, Kodak and Heinz. 77 of which were published in Europe, the Middle East and the Indian sub-continent. The following brands have achieved Superbrands ® 1C Aim Trimark Amstel Asuransi Barbie 3 Hutchison Telecom AIMC *Amsterdam AT Kearney Barca Velha 3 Korochki Air Asia Amsterdam Airport Atlas Barclaycard 36,6 Air Canada Amway Atlas Hi-Fi Barclays Bank 3FM Air France An Post Aton Barista 3M Air Liquide Anadin atv BARMER 7-Up Air Miles Anakku Audi Barnes & Noble 8 Marta Air Sahara Anchor Audrey Baron B A Blikle Airbus Ancol Jakarta Baycity Aurinkomatkat Basak¸ Emeklilik A&E Airland Andersen Consulting Australia Olympic Basak¸ Sigorta A-1 Driving Airtel Andersen Windows Committee BASF AA2000 AIS Andrex Australia Post Basildon Bond AAJ TAK Aiwa Angel Face Austrian Airlines Baskin Robins AARP Aji Ichiban Anlene Auto & General Baso Malang AB VASSILOPOULOS Ak Emekliik Ann Summers Auto Bild Bassat Ogilvy ABBA Akari Annum Automibile Association Bata abbey Akbank Ansell AV Jennings Batchelors ABC Al Ansari Exchange Ansett Avance Bates Abenson Inc Al Ghurair Retail City Antagin JRG AVE Battery ABN Amro