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Google Chrome Scores at SXSW Interactive Awards 16 March 2011, by Glenn Chapman
Google Chrome scores at SXSW Interactive awards 16 March 2011, by Glenn Chapman type of video," Google's Thomas Gayno told AFP after the award ceremony. "For Google it is very compelling because it allows us to push the browser to its limits and move the Web forward." Visitors to the website enter addresses where they lived while growing up to be taken on nostalgic trips by weaving Google Maps and Street View images with the song "We Used to Wait." A woman works on her computer as on the wall behind "It takes you on a wonderful journey all is seen the logo of Google in Germany 2005. A music synchronized with music," Gayno said. "It is like and imagery website that shows off capabilities of choreography of browser windows." Google's Chrome Web browser won top honors at a South By Southwest Interactive (SXSW) festival known US Internet coupon deals website Groupon was for its technology trendsetters. voted winner of a People's Choice award in keeping with a trend of SXSW goers using smartphones to connect with friends, deals, and happenings in the real world. A music and imagery website that shows off capabilities of Google's Chrome Web browser won Founded in 2008, Chicago-based Groupon offers top honors at a South By Southwest Interactive discounts to its members on retail goods and (SXSW) festival known for its technology services, offering one localized deal a day. trendsetters. A group text messaging service aptly named The Wilderness Downtown was declared Best of GroupMe was crowned the "Breakout Digital Trend" Show at an awards ceremony late Tuesday that at SXSW. -
Horseshoes, Heemstra and Hot Dogs
Northwestern College inside this issue longboarding tips PAGE 5 indie album reaches #1 PAGE 6 football heartbreak BEACON PAGE 8 Volume 83 Number 1 September 10, 2010 The Club @ Horseshoes, Heemstra and hot dogs N-Dub: Save BY ERIC SANDBULTE but built as a residence hall CONTRIBUTING WRITER instead.” the Earth Each new school year brings its In the meantime, stranded West own unique set of changes, and this students take refuge in the “West and dance! year is certainly no exception. The Wing” of Stegenga Hall, formally BY JEB RACH building of a new residence hall and First South. CONTRIBUTING WRITER a new volleyball court highlight the The fire pit and volleyball court The Hub @ N-Dub is usually exciting new additions that have are two other new additions to a fairly busy place. But this come to Northwestern’s campus. the campus, thanks to the Student Saturday, the Hub will take it up a Many students have noticed Government Association (SGA) notch with the Club @ N-Dub. the fenced area where Heemstra and the Maintenance Department. All students on campus are was previously located. “That spot Located near Stegenga, they are invited to come to the one and will be left as a continuation of the open for use daily. SGA president only club on campus at the Hub. green,” said Patrick Hummel, the Justin Jansen clarified, “You don’t Sponsored by Student Activities Director of Residence Life. have to make any reservations for Council (SAC), the Club @ N-Dub Construction on a new residence the fire pit or the volleyball court. -
Caldas Chs Dr Bauru.Pdf (14.59Mb)
UNIVERSIDADE ESTADUAL PAULISTA “JÚLIO DE MESQUITA FILHO” FACULDADE DE ARQUITETURA, ARTES E COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO LINHA DE PESQUISA: PRODUÇÃO DE SENTIDO NA COMUNICAÇÃO MIDIÁTICA CARLOS HENRIQUE SABINO CALDAS VIDEOCLIPE INTERATIVO: NOVAS FORMAS EXPRESSIVAS NO AUDIOVISUAL Bauru 2018 CARLOS HENRIQUE SABINO CALDAS VIDEOCLIPE INTERATIVO: NOVAS FORMAS EXPRESSIVAS NO AUDIOVISUAL Tese de Doutorado apresentada ao Programa de pós-graduação em Comunicação da Faculdade de Arquitetura, Artes e Comunicação da Universidade Estadual Paulista “Júlio de Mesquita Filho”, campus Bauru, para a obtenção do título de doutor, sob a orientação da Professora Doutora Ana Silvia Lopes Davi Médola (Linha de Pesquisa 2: Produção de Sentido na Comunicação Midiática). Bauru 2018 Caldas, Carlos Henrique Sabino. Videoclipe interativo: novas formas expressivas no audiovisual / Carlos Henrique Sabino Caldas, 2018 347 f. : il. Orientador: Ana Silvia Lopes Davi Médola Tese (Doutorado)–Universidade Estadual Paulista. Faculdade de Arquitetura, Artes e Comunicação, Bauru, 2018 1. Videoclipe Interativo. 2. Remediação. 3. Hibridismo. 4. Sincretismo de Linguagens. 5. Semiótica. I. Universidade Estadual Paulista. Faculdade de Arquitetura, Artes e Comunicação. II. Título. Dedico este trabalho a Deus e a minha família, em especial a minha mãe Rosa. AGRADECIMENTOS Ao meu adorado Deus que me orientou neste caminho; A minha amada esposa Jackeline que me acompanhou em todos os momentos e me motivou dia a dia a prosseguir; Aos meus dois lindos filhos, Lelê -
UA37/44 Tidbits of Kentucky Folklore
Western Kentucky University TopSCHOLAR® Faculty/Staff Personal Papers WKU Archives Records 1937 UA37/44 Tidbits of Kentucky Folklore Gordon Wilson Follow this and additional works at: https://digitalcommons.wku.edu/fac_staff_papers Part of the Folklore Commons, Journalism Studies Commons, Linguistic Anthropology Commons, Mass Communication Commons, Oral History Commons, and the Social History Commons Recommended Citation Wilson, Gordon, "UA37/44 Tidbits of Kentucky Folklore" (1937). Faculty/Staff Personal Papers. Paper 171. https://digitalcommons.wku.edu/fac_staff_papers/171 This Other is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Faculty/Staff Personal Papers by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ORIGINALS TIDBITS OF KENTUCKY FOLKLORE by Gordon Wilson Vol. II Nos. 101-199 /\] 0, / ) .C IJ "I J it., tl n 1J • 1 t f, 7 () !_J ( i.n, Lo (" i_ (7 '·'. .l + l. .., ,, cr;nt () _j ,, i, ' -;, ii'" n, plrlr} -,-, l /\Jo, I llc,d :n11l_(i .,. tron int : j { J •• ' 1-; 1 l_i C1)11 l(! i 111 C:O'.l.1c7 ,. ,,-i,nn nf bF;J·n cloor --i t''1 nr1 1 ''. ·,1,,71 'I' I. r· f"'•n ·1 i_ nn --.-.h 11 f'. t .i 1· F;rc.l ji:int h (J 1,i u J. '.-! i_ :i. [J .Jj (JJ of (! l; ov1 ned i_ J' I C) l .l. d () r-: h;__ 1;,- ; ,,_;'_'[ 1 (; l,- 1 i t (j : ' ' '1 I. cc 1 L :i: --~ C I i' /yjJ;¢/. (Vo, v- '() \) _r 11, _r·1,1nnj__ie-;f.· _11J1·; ld en: i-'.' t,)1; t ·el :i_ li.r 01c.1.-fe,:,::;l1ioncc1 Coux·ting /(_! ffothinc ho.fJ cl1b,nc:nd Viore rr::d1cr,,1l;y :i.n the lr;bt L\!fO G:C tl1:cr:1t·: J~ ~ell-br·ed boy did not n~Lr,. -
We Used to Wait: Music Videos and Creative Literacy
We Used to Wait This report was made possible by grants from the John D. and Catherine T. MacArthur Foundation in connection with its grant making initiative on Digital Media and Learning. For more infor- mation on the initiative visit http://www.macfound.org. The John D. and Catherine T. MacArthur Foundation Reports on Digital Media and Learning Peer Participation and Software: What Mozilla Has to Teach Government by David R. Booth The Future of Thinking: Learning Institutions in a Digital Age by Cathy N. Davidson and David Theo Goldberg with the assistance of Zoë Marie Jones Kids and Credibility: An Empirical Examination of Youth, Digital Media Use, and Information Credibility by Andrew J. Flanagin and Miriam Metzger with Ethan Hartsell, Alex Markov, Ryan Medders, Rebekah Pure, and Eli- sia Choi New Digital Media and Learning as an Emerging Area and “Worked Exam- ples” as One Way Forward by James Paul Gee Digital Media and Technology in Afterschool Programs, Libraries, and Muse- ums by Becky Herr-Stephenson, Diana Rhoten, Dan Perkel, and Christo Sims with contributions from Anne Balsamo, Maura Klosterman, and Susana Smith Bautista Young People, Ethics, and the New Digital Media: A Synthesis from the Good- Play Project by Carrie James with Katie Davis, Andrea Flores, John M. Francis, Lindsay Pettingill, Margaret Rundle, and Howard Gardner Confronting the Challenges of Participatory Culture: Media Education for the 21st Century by Henry Jenkins (P.I.) with Ravi Purushotma, Margaret Weigel, Katie Clinton, and Alice J. Robison The Civic Potential of Video Games by Joseph Kahne, Ellen Middaugh, and Chris Evans We Used to Wait: Music Videos and Creative Literacy By Rebecca Kinskey Quest to Learn: Developing the School for Digital Kids by Katie Salen, Robert Torres, Loretta Wolozin, Rebecca Rufo-Tepper, and Arana Shapiro Measuring What Matters Most: Choice-Based Assessments for the Digital Age by Daniel L. -
Digital Narratives: a Study of the Arcade Fire Interactive Music Videos
Comunicação e Sociedade, vol. 27, 2015, pp. 387 – 402 doi: http://dx.doi.org/10.17231/comsoc.27(2015).2108 Digital narratives: a study of the Arcade Fire interactive music videos Elisa Maria Rodrigues Barboza Abstract Initially seen as an audiovisual product made mainly for television, the music video, in re- cent years, has been expanding itself and gaining strength in the virtual environment. The possi- bility of easy and quick access through websites such as Vimeo and YouTube, besides the greater freedom these sites offer in comparison to the schedules of television channels, was only the beginning of the process of this format’s creative development. Its embracing of the technologi- cal changes culminates with the appearance of interactive music videos that strengthen invest- ments made in experiences of digital narratives. In this context, one of the bands that stands out is Arcade Fire, whose trajectory already counts with four interactive audiovisual projects, namely Neon Bible (Vincent Morisset, 2007), Sprawl II (Vincent Morisset, 2010), The Wilderness Dowtown (Chris Milk, 2010) and Just a Reflektor (Vincent Morisset, 2013). Keywords Music video; digital narratives; interactivity; Arcade Fire Definition of Music Video In order to define the term interactive“ music video”, it is necessary to first under- stand the origin and the language of the music video as known in its initial versions, prior to its insertion in the internet. For Soares (2012: 32): “In principle, the video clip was simply called musical number. Then it would be named promo, a direct allusion to the word ‘promotional’. The term video clip would finally be used only from the 80s on. -
2011 Juno Award Nominations Announced!
FOR IMMEDIATE RELEASE 2011 JUNO AWARD NOMINATIONS ANNOUNCED! Drake leads the pack with six JUNO Award nominations; Arcade Fire, Broken Social Scene, Hedley, Johnny Reid, Justin Bieber and Sarah McLachlan receive multiple nominations About CARAS: The Canadian Academy of Recording Arts and Sciences/L’académie canadienne des arts et des sciences de l’enregistrement (CARAS) is a not-for-profit organization created to preserve and enhance the Canadian music and recording industries and to contribute toward higher artistic and industry standards. The main focus of CARAS is the exploration and development of opportunities to showcase and promote Canadian artists and music through vehicles such as The JUNO Awards. For more information on the 40th Annual JUNO Awards or The Canadian Academy of Recording Arts and Sciences’ (CARAS) website please visit www.junoawards.ca or www.carasonline.ca. The complete list of 2011 JUNO AWARDS NOMINEES: JUNO FAN CHOICE AWARD (PRESENTED BY LIVE NATION) Drake Cash Money*Universal Hedley Universal Johnny Reid Johnny Mac*EMI Justin Bieber Island Def Jam*Universal Michael Bublé WEA*Warner SINGLE OF THE YEAR Oh Canada Classified HalfLife*Sony Find Your Love Drake Cash Money*Universal Perfect Hedley Universal Hallelujah Vancouver Winter 2010 kd lang Nonesuch*Warner Wavin’ Flag Young Artists for Haiti Universal INTERNATIONAL ALBUM OF THE YEAR Recovery Eminem Interscope*Universal Teenage Dream Katy Perry Capitol*EMI Animal Ke$ha RCA*Sony Need You Now Lady Antebellum Capitol Nashville*EMI Speak Now Taylor Swift Big Machine/Open Road*Universal ALBUM OF THE YEAR (SPONSORED BY CANADIAN RECORDING INDUSTRY ASSOCIATION) The Suburbs Arcade Fire Sonovox*F.A.B. -
IR16 the Wilderness Online Final W Header
Selected Papers of Internet Research 16: The 16th Annual Meeting of the Association of Internet Researchers Phoenix, AZ, USA / 21-24 October 2015 THE WILDERNESS ONLINE: HOW INTERACTIVITY IS CHANGING MUSIC VIDEOS ON THE INTERNET Michelle C Forelle Annenberg School of Communication and Journalism University of Southern California Video games are like video clips…the game is the youth saving himself from the threat of domination posed by the industrialized world. The computer is the means of this threat and the means of resisting it: MTV is the product of capitalism and the means of resisting it (Fiske 76) For John Fiske, MTV was the ultimate post-modern playground. A 24-hour kaleidoscope of sight and sound, it denied the signified by giving all the power to the signifier (Fiske). Writing in 1986, only five years after the birth of the channel, Fiske’s writing has proved prescient; in this essay, he compares the endless stream of music videos to video games, as both offer the opportunity for resistance while still constraining it. If this is true for each medium separately, what then can be said about their confluence? What power do music videos hold when they have moved off the television airwaves into the tubes of the Internet, and have begun to incorporate the same ambivalent interactivity of video games? What is the power of the interactive music video? This paper explores interactive music videos as a new area for academic inquiry. It provides a history of music videos leading up to the ascendance of interactive music videos, and then explores a series of projects to illustrate the range of approaches the genre covers. -
Track Artist California Love - Original Mix (Explicit) 2Pac Changes - (Explicit) 2Pac Ayo Technology 50 Cent Take on Me A-Ha Cancion Del Mariachi A
Track Artist California Love - Original Mix (Explicit) 2Pac Changes - (Explicit) 2Pac Ayo Technology 50 Cent Take On Me a-ha Cancion del Mariachi A. Banderas & Los Lobos Trespassing Adam Lambert Right As Rain Adele Lovesong Adele Rolling in the Deep Adele Oh Africa Akon Take Me To The River Al Green Hold On Alabama Shakes Hold On Alabama Shakes Hang Loose Alabama Shakes You Oughta Know Alanis Morissette Girl on Fire Alicia Keys Gives You Hell The All-American Rejects Tessellate alt-J Fitzpleasure alt-J 1977 Ana Tijoux Fake Palindromes Andrew Bird Cups (Pitch Perfect’s “When I’m Gone”) Anna Kendrick Rolled Together The Antlers Wake Up Arcade Fire Wake Up Arcade Fire My Body Is a Cage Arcade Fire My Body Is a Cage Arcade Fire Reflektor Arcade Fire Ready to Start Arcade Fire We Used to Wait Arcade Fire Sprawl II (Mountains Beyond Mountains) Arcade Fire I Love College Asher Roth Monster The Automatic Automatic Hey Brother Avicii Wake Me Up Avicii Kill Your Heroes AWOLNATION Not Your Fault AWOLNATION Both Of Us - feat. Taylor Swift B.o.B Lighters Bad Meets Evil Take You To The Movies Bangs Meet Me On Facebook Bangs Hi Haters Bangs Pompeii Bastille Besame Mucho The Beatles When The Night Feels My Song Bedouin Soundclash A Candle's Fire Beirut Santa Fe Beirut East Harlem Beirut Goshen Beirut Payne's Bay Beirut The Rip Tide Beirut Vagabond Beirut The Peacock Beirut Port of Call Beirut You Don't Know Me (featuring Regina Spektor) - Explicit Album V Ben Folds Burn One Down Ben Harper Burn One Down - Live Ben Harper Let Me In Benny Sings Drunk in -
Visual Foxpro
12/31/2019 Please note, this music list does not include everything your DJ owns. If you don't see a certain song, no problem. Your DJ can get it for you. This is simply meant to be a helpful guide in selecting your music. Artist Title Artist Title Page 1 ALTERNATIVE ALTERNATIVE ACE OF BASE ALL THAT SHE WANTS FOUNTAINS OF WAYNE STACEY'S MOM ACE OF BASE THE SIGN FRANZ FERDINAND DO YOU WANT TO ALANIS MORISSETTE EVERYTHING FRANZ FERDINAND TAKE ME OUT ALANIS MORISSETTE IRONIC FRATELLIS CHELSEA DAGGER ALANIS MORISSETTE THANK YOU GAVIN DEGRAW CHARIOT ALL-AMERICAN REJECTS DIRTY LITTLE SECRET GAVIN DEGRAW FOLLOW THROUGH ALL-AMERICAN REJECTS MOVE ALONG GIN BLOSSOMS FOUND OUT ABOUT YOU ARCADE FIRE KEEP THE CAR RUNNING GIN BLOSSOMS HEY JEALOUSY ARCADE FIRE WE USED TO WAIT GOO GOO DOLLS BETTER DAYS ARCTIC MONKEYS BABY I'M YOURS GOO GOO DOLLS BLACK BALLOON ASHLEE SIMPSON BOYFRIEND GOO GOO DOLLS GIVE A LITTLE BIT AVRIL LAVIGNE COMPLICATED GOO GOO DOLLS IRIS AVRIL LAVIGNE GIRLFRIEND GOOD CHARLOTTE I JUST WANNA LIVE BARE NAKED LADIES IT'S ALL BEEN DONE GORILLAZ FEEL GOOD INC BARENAKED LADIES ANOTHER POSTCARD GRAND SKEEM BABY GOT BACK BARENAKED LADIES ONE WEEK GREEN DAY AMERICAN IDIOT BECK E-PRO GREEN DAY BASKET CASE BENNY BENASSI SATISFACTION GREEN DAY BOULEVARD OF BROKEN DREAMS BETTER THAN EZRA GOOD GREEN DAY WAKE ME UP WHEN SEPTEMBER ENDS BIG AUDIO DYMNAMITE THE GLOBE GREEN DAY WHEN I COME AROUND BLACK KEYS HOWLIN FOR YOU GRENDEL ZOMBIE NATION BLACK KEYS STRANGE TIMES GWEN STEFANI COOL BLESSED UNION HEY LEONARDO GWEN STEFANI RICH GIRL BLIND MELON NO -
2011 Sundance Film Festival Taps Into Diverse History Of
For Immediate Release Media Contact: January 6, 2010 Kate McMillan (435) 776-7864 [email protected] 2011 SUNDANCE FILM FESTIVAL TAPS INTO DIVERSE HISTORY OF AMERICAN MUSIC Eclectic Mix of Music Legends and Fresh Indie Talent will Appear in Film and Live Performances Lou Reed to perform at the annual CELEBRATION OF MUSIC IN FILM Artists Include Adam Yauch of Beastie Boys, A Tribe Called Quest, Guster, Harry Belafonte, K’NAAN, Lou Reed, Robert Randolph and the Family Band and St. Vincent Park City, UT—Sundance Institute today announced the line-up of music-themed films and events at the 2011 Sundance Film Festival. This year’s program features a diverse array of musical storytelling, past, present and future through soundtracks and scores, compelling documentaries, an eclectic live-music line-up and more. The Sundance Film Festival runs from January 20-30, in Park City, Salt Lake City, Ogden and Sundance, Utah. A complete list of films and events is available at www.sundance.org/festival. Through its Film Music program and annual Composers Labs, to its esteemed appreciation for films that feature ground-breaking composers and original soundtracks, Sundance Institute continues to support and inspire innovative music in independent film. In that spirit, The Sundance Film Festival is a vibrant showcase for up-and-coming musicians. The official 2011 Sundance Film Festival credential costs $200 online or at the box offices and allows admission for the holder to the Sundance House, Filmmaker Lodge, New Frontier at Miner’s Hospital, daytime admission to the Sundance ASCAP Music Café, and the Salt Lake City Café. -
Contenidos Digitales En La Era De La Sociedad Conectada Libro 2 Maquetación 1 09/04/2014 10:36 Página 2
Libro 2_Maquetación 1 09/04/2014 10:36 Página 1 Contenidos digitales en la era de la sociedad conectada Libro 2_Maquetación 1 09/04/2014 10:36 Página 2 colección Biblioteca de Ciencias de la Comunicación Libro 2_Maquetación 1 09/04/2014 10:36 Página 3 Javier Sierra Sánchez & Daniel Rodrigues Parente (Coord.) Contenidos digitales en la era de la sociedad conectada MADRID MMXIV Libro 2_Maquetación 1 09/04/2014 10:36 Página 4 No se permite la reproducción total o parcial de este libro, ni su tratamiento informá- tico, ni la transmisión de ninguna forma o por cualquier medio, ya sea electrónico, mecánico, por fotocopia, por registro u otros métodos sin el permiso y por escrito del Editor y del Autor. Director de la Colección: IGNACIO MUÑOZ MAESTRE Maquetación: Miguel Ángel Pérez Gallego Ilustración de Cubierta: Alumno de 4º de Grado en Diseño Multimedia y Gráfico de ESNE: César Gil Gómez. Dirección de Arte: Miguel Rejas, ESNE Título: Contenidos digitales en la era de la sociedad conectada © EDITORIAL FRAGUA C/ Andrés Mellado, 64. 28015-MADRID TEL. 915-491-806/ 915-442-297 FAX 915-431-794 E-mail: [email protected] www.editorialfragua.com I.S.B.N.: 978-84-7074-623-9 (papel) 978-84-7074-624-6 (e-book) Depósito Legal: Libro 2_Maquetación 1 09/04/2014 10:36 Página 5 Índice 1. La creación de eventos 2.0 por Jara Bernués Oliván ........................................................................... 9 2. La representación de la interculturalidad en el discurso informativo televisivo: un análisis cuantitativo por Miquel Rodríguez/Antonio Pineda/Leonarda García Jiménez Leonarda García Jiménez/Ramón Rodríguez Polo ..................................