Keywords Studios 2019 Annual Report
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May CARG 2020.Pdf
ISSUE 30 – MAY 2020 ISSUE 30 – MAY ISSUE 29 – FEBRUARY 2020 Promoting positive mental health in teenagers and those who support them through the provision of mental health education, resilience strategies and early intervention What we offer Calm Harm is an Clear Fear is an app to Head Ed is a library stem4 offers mental stem4’s website is app to help young help children & young of mental health health conferences a comprehensive people manage the people manage the educational videos for students, parents, and clinically urge to self-harm symptoms of anxiety for use in schools education & health informed resource professionals www.stem4.org.uk Registered Charity No 1144506 Any individuals depicted in our images are models and used solely for illustrative purposes. We all know of young people, whether employees, family or friends, who are struggling in some way with mental health issues; at ARL, we are so very pleased to support the vital work of stem4: early intervention really can make a difference to young lives. Please help in any way that you can. ADVISER RANKINGS – CORPORATE ADVISERS RANKINGS GUIDE MAY 2020 | Q2 | ISSUE 30 All rights reserved. No part of this publication may be reproduced or transmitted The Corporate Advisers Rankings Guide is available to UK subscribers at £180 per in any form or by any means (including photocopying or recording) without the annum for four updated editions, including postage and packaging. A PDF version written permission of the copyright holder except in accordance with the provision is also available at £360 + VAT. of copyright Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency, Barnard’s Inn, 86 Fetter Lane, London, EC4A To appear in the Rankings Guide or for subscription details, please contact us 1EN. -
Leonardoelectronicalma
/ ____ / / /\ / /-- /__\ /______/____ / \ ________________________________________________________________ Leonardo Electronic Almanac volume 11, number 9, September 2003 ________________________________________________________________ ISSN #1071-4391 ____________ | | | CONTENTS | |____________| ________________________________________________________________ EDITORIAL --------- < Art and Weightlessness: The MIR Campaign 2003 in Star City, by Annick Bureaud > FEATURES -------- < Art and Weightlessness: The MIR Campaign 2003 in Star City, by Annick Bureaud > < The Multidisciplinary Research Laboratory, by Nicola Triscott > < An Artist in Space - An Achievable Goal?, by Rob LaFrenais > < Projekt Atol Flight Operations and the MIR Network, by Marko Peljhan > < Contextualizing Zero-Gravity Art, by Roger Malina > < Art Critic in Microgravity, by Annick Bureaud > < May the Force Be with You, by Alex Adriaansens > < Transpermia - Dédalo Project, by Marcel.lí Antúnez Roca > < Open Sky and Microgravity, by Ewen Chardronnet > < Initial Report on the Pilot Study on the Military and Behavioral Preconditions for Permanent Habitation in Microgravity, by The Otolith Group (Kodwo Eshun, Richard Couzins, Anjalika Sagar) > < Filming in Microgravity, by Richard Couzins > < Kaplegraf 0g (Drops Orbits), by Vadim Fishkin, Livia Páldi > < The Celestial Vault, by Stefan Gec > LEONARDO REVIEWS ---------------- < Consciousness Reframed 2003: Art and Consciousness in the Post-Biological Era, Reviewed by Pia Tikka > < Coded Characters: Media Art by Jill Scott, Reviewed -
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. -
Fiscal Year 2015 Results Briefing(4.1MB)
HAPPINET CORPORATION Stock Listing :Tokyo Stock Exchange Code Number :7552 Fiscal Year 2015 Results Briefing May 20, 2016 Table目次 of Contents FY2015 Results Summary 2 FY2015 Financial Results 9 FY2016 Group- Group-WideWide Main Policy 19 FY2016 Measures for the Distribution Business 21 FY2016 Measures for the Contents Business 26 FY2016 Fu ll-YPjtiYear Projection 31 Information related to Share Price 34 FY2015 Results Summary TtTetsuo IhikIshikawa President and Representative Director 2 FY2015目次 Results Summary (¥ million) FY2014 FY2015 YOY Net sales 217,232 187,274 --13.813.8% Operating income 5,056 3,450 --31.831.8% Ordinary income 5,124 3,497 -31.8% Profit attributable to owners of parent 4,049 2,359 -41.7% 3 FY2015目次 Results Summary Toy Business Net sales Segment income (millions of yen) ■ FY2015 Results Summary 93,270 Compared to the previous fiscal year, net sales hovered at a low level due to a lack of major hit products during the 76,874 yearyear--endend sales season, which is the greatest sales 76,821 opportunity. 4,279 Segment income also lagged, due mainly to posting of an valuation loss from overstocked products. 2, 710 2,848 FY2013 FY2014 FY2015 Segment income 2712.71 billion yen 4274.27 billion yen 2842.84 billion yen Clearance amounts 1.0 billion yen 1.6 billion yen 1.8 billion yen Inventory amounts 2.4 billion yen 2.3 billion yen 2.2 billion yen Inventory turnover rate 31.0 38.7 33.6 FY2013 FY2014 FY2015 4 FY2015目次 Results Summary Visual and Music Business Net sales Segment income (millions of yen) ■ FY2015 Results Summary In an environment where the package market remains sluggish as a whole due to effects of the distribution of software via the Internet, net sales of the Group in this 42,955 43,372 business segment also remained weak. -
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. -
Do Not Use If You Have Had a Black Henna Temporary Tattoo
Ancient Sunrise® Henna for Hair Chapter 1, , Copyright © 2015, Ancient Sunrise® Henna for Hair Catherine Cartwright-Jones PhD, TapDancing Lizard LLC www.mehandi.com www.hennaforhair.com www.ancientsunrise.com Ancient Sunrise® Henna for Hair Chapter 1, Ancient Sunrise® Henna for Hair Copyright © 2015 Catherine Cartwright-Jones Cover Graphic by Alex Morgan Published by TapDancing Lizard® LLC 339 Tallmadge Rd. Kent, Ohio, 44240 Terms of Service: Creative Commons: Attribution-NonCommercial-NoDerivs 3.0 Unported You are free to Share, to copy and redistribute this material in any medium or format under the following terms. The licensor cannot revoke these freedoms as long as you follow the license terms. Attribution - You must give appropriate credit and provide a link to the license. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. Non-Commercial - You may not use this material for commercial purposes. No-Derivatives - If you remix, transform, or build upon the material, you may not distribute the modified material in any form or by any means. For further information on henna and hair, please visit www.hennaforhair.com To purchase henna, please visit www.mehandi.com HELP DESK AND ORDER DESK: call 330-673-0600 or toll-free 855-MEHANDI Call 330-673-0615 for help with your relaxed or natural hair Ancient Sunrise® Henna for Hair Chapter 1, , Copyright © 2015, Ancient Sunrise® Henna for Hair Catherine Cartwright-Jones PhD, TapDancing Lizard LLC www.mehandi.com www.hennaforhair.com www.ancientsunrise.com Ancient Sunrise® Henna for Hair Foreword A friend asked me to decorate her skin with henna when I was teaching at Kent State University in 1992. -
Empreses Del Japo Sunrise Studio Pierrot Kawasaki Heavy Industries Sony Studio Ghibli Animax Mitsubishi Tms Entertainment Bones
EMPRESES DEL JAPO SUNRISE STUDIO PIERROT KAWASAKI HEAVY INDUSTRIES SONY STUDIO GHIBLI ANIMAX MITSUBISHI TMS ENTERTAINMENT BONES PDF-32EDJSSPKHISSGAMTEB13 | Page: 130 File Size 5,773 KB | 7 Jul, 2020 PDF File: Empreses Del Japo Sunrise Studio Pierrot Kawasaki Heavy Industries Sony Studio Ghibli 1/3 Animax Mitsubishi Tms Entertainment Bones - PDF-32EDJSSPKHISSGAMTEB13 TABLE OF CONTENT Introduction Brief Description Main Topic Technical Note Appendix Glossary PDF File: Empreses Del Japo Sunrise Studio Pierrot Kawasaki Heavy Industries Sony Studio Ghibli 2/3 Animax Mitsubishi Tms Entertainment Bones - PDF-32EDJSSPKHISSGAMTEB13 Empreses Del Japo Sunrise Studio Pierrot Kawasaki Heavy Industries Sony Studio Ghibli Animax Mitsubishi Tms Entertainment Bones e-Book Name : Empreses Del Japo Sunrise Studio Pierrot Kawasaki Heavy Industries Sony Studio Ghibli Animax Mitsubishi Tms Entertainment Bones - Read Empreses Del Japo Sunrise Studio Pierrot Kawasaki Heavy Industries Sony Studio Ghibli Animax Mitsubishi Tms Entertainment Bones PDF on your Android, iPhone, iPad or PC directly, the following PDF file is submitted in 7 Jul, 2020, Ebook ID PDF-32EDJSSPKHISSGAMTEB13. Download full version PDF for Empreses Del Japo Sunrise Studio Pierrot Kawasaki Heavy Industries Sony Studio Ghibli Animax Mitsubishi Tms Entertainment Bones using the link below: Download: EMPRESES DEL JAPO SUNRISE STUDIO PIERROT KAWASAKI HEAVY INDUSTRIES SONY STUDIO GHIBLI ANIMAX MITSUBISHI TMS ENTERTAINMENT BONES PDF The writers of Empreses Del Japo Sunrise Studio Pierrot Kawasaki Heavy Industries Sony Studio Ghibli Animax Mitsubishi Tms Entertainment Bones have made all reasonable attempts to offer latest and precise information and facts for the readers of this publication. The creators will not be held accountable for any unintentional flaws or omissions that may be found. -
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. -
BANDAI NAMCO Group FACT BOOK 2019 BANDAI NAMCO Group FACT BOOK 2019
BANDAI NAMCO Group FACT BOOK 2019 BANDAI NAMCO Group FACT BOOK 2019 TABLE OF CONTENTS 1 BANDAI NAMCO Group Outline 3 Related Market Data Group Organization Toys and Hobby 01 Overview of Group Organization 20 Toy Market 21 Plastic Model Market Results of Operations Figure Market 02 Consolidated Business Performance Capsule Toy Market Management Indicators Card Product Market 03 Sales by Category 22 Candy Toy Market Children’s Lifestyle (Sundries) Market Products / Service Data Babies’ / Children’s Clothing Market 04 Sales of IPs Toys and Hobby Unit Network Entertainment 06 Network Entertainment Unit 22 Game App Market 07 Real Entertainment Unit Top Publishers in the Global App Market Visual and Music Production Unit 23 Home Video Game Market IP Creation Unit Real Entertainment 23 Amusement Machine Market 2 BANDAI NAMCO Group’s History Amusement Facility Market History 08 BANDAI’s History Visual and Music Production NAMCO’s History 24 Visual Software Market 16 BANDAI NAMCO Group’s History Music Content Market IP Creation 24 Animation Market Notes: 1. Figures in this report have been rounded down. 2. This English-language fact book is based on a translation of the Japanese-language fact book. 1 BANDAI NAMCO Group Outline GROUP ORGANIZATION OVERVIEW OF GROUP ORGANIZATION Units Core Company Toys and Hobby BANDAI CO., LTD. Network Entertainment BANDAI NAMCO Entertainment Inc. BANDAI NAMCO Holdings Inc. Real Entertainment BANDAI NAMCO Amusement Inc. Visual and Music Production BANDAI NAMCO Arts Inc. IP Creation SUNRISE INC. Affiliated Business -
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. -
Introduction
Notes Introduction 1 . See, for example, Mitsuhiro Yoshimoto’s review article “Anime from Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. By Susan J. Napier” in The Journal of Asian Studies , 61(2), 2002, pp. 727–729. 2 . Key texts relevant to these thinkers are as follows: Gilles Deleuze, Cinema I and Cinema II (London: Athlone Press, 1989); Jacques Ranciere, The Future of the Image (London and New York: Verso, 2007); Brian Massumi, Parables for the Virtual: Movement Affect, Sensation (Durham: Duke University Press, 2002); Slavoj Žižek, The Sublime Object of Ideology (London and New York: Verso, 1989); Steven Shaviro, The Cinematic Body (Minneapolis: University of Minnesota Press, 1993). 3 . This is a recurrent theme in The Anime Machine – and although Lamarre has a carefully nuanced approach to the significance of technology, he ultimately favours an engagement with the specificity of the technology as the primary starting point for an analysis of the “animetic” image: see Lamarre, 2009: xxi–xxiii. 4 . For a concise summing up of this point and a discussion of the distinction between creation and “fabrication” see Collingwood, 1938: pp. 128–131. 5 . Lamarre is strident critic of such tendencies – see The Anime Machine , p. xxviii & p. 89. 6 . “Culturalism” is used here to denote approaches to artistic products and artefacts that prioritize indigenous traditions and practices as a means to explain the artistic rationale of the content. While it is a valuable exercise in contextualization, there are limits to how it can account for creative processes themselves. 7 . Shimokawa Ōten produced Imokawa Mukuzo Genkanban no Maki (The Tale of Imokawa Mukuzo the Concierge ) which was the first animated work to be shown publicly – the images were retouched on the celluloid.