The Importance of ,Dreams
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Easter Eggs: Hidden Tracks and Messages in Musical Mediums
Proceedings ICMC|SMC|2014 14-20 September 2014, Athens, Greece Easter Eggs: Hidden Tracks and Messages in Musical Mediums Jonathan Weinel, Darryl Griffiths and Stuart Cunningham Creative & Applied Research for the Digital Society (CARDS) Glyndŵr University Plas Coch Campus, Mold Road, Wrexham, LL11 2AW, Wales +44 1978 293070 {j.weinel | Griffiths.d | s.cunningham}@glyndwr.ac.uk ABSTRACT the programmers’ office, in the style of the video game Doom [2]. The hidden game features credits and digital ‘Easter eggs’ are hidden components that can be found in images of the programmers. It is accessed by carrying computer software and various other media including out a particular series of actions on the 95th row of a music. In this paper the concept is explained, and various blank spreadsheet upon opening Excel. examples are discussed from a variety of mediums in- cluding analogue and digital audio formats. Through this discussion, the purpose of including easter eggs in musi- cal mediums is considered. We propose that easter eggs can serve to provide comic amusement within a work, but can also serve to support the artistic message of the art- work. Concealing easter eggs in music is partly depend- ent on the properties of the chosen medium; vinyl records Figure 1. Screenshots from the ‘hall of tortured souls’, in Mi- may use techniques such as double grooves, while digital crosoft Excel 95. formats such as CD may feature hidden tracks that follow long periods of empty space. Approaches such as these This paper will consider the purpose and realisation of and others are discussed. -
Cultural Criminology Unleashed
CULTURAL CRIMINOLOGY UNLEASHED Edited by Jeff Ferrell, Keith Hayward, Wayne Morrison and Mike Presdee First published in Great Britain 2004 by The GlassHouse Press, The Glass House, Wharton Street, London WC1X 9PX, United Kingdom Telephone: + 44 (0)20 7278 8000 Facsimile: + 44 (0)20 7278 8080 Email: [email protected] Website: www.cavendishpublishing.com Published in the United States by Cavendish Publishing c/o International Specialized Book Services, 5824 NE Hassalo Street, Portland, Oregon 97213-3644, USA Published in Australia by The GlassHouse Press, 45 Beach Street, Coogee, NSW 2034, Australia Telephone: + 61 (2)9664 0909 Facsimile: +61 (2)9664 5420 Email: [email protected] Website: www.cavendishpublishing.com.au © Cavendish Publishing Limited 2004 Chapter 2 © Tony Jefferson 2004 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, without the prior permission in writing of Cavendish Publishing Limited, or as expressly permitted by law, or under the terms agreed with the appropriate reprographics rights organisation. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Cavendish Publishing Limited, at the address above. You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer. British Library Cataloguing in Publication Data A record is available from the British Library Library of Congress Cataloguing in Publication Data Data available ISBN 1-90438-537-0 ISBN 978-1-904-38537-0 1 3 5 7 9 10 8 6 4 2 Printed and bound in Great Britain Cover image supplied by Cécile Van de Voorde “pourin’ off of every page” Acknowledgments The seeds of Cultural Criminology Unleashed were first sown at a small conference held at the University of London’s Chancellor’s Hall in the late Spring of 2003. -
Song List by Artist
Song List by Artist Artist Song Name 10,000 MANIACS BECAUSE THE NIGHT EAT FOR TWO WHAT'S THE MATTER HERE 10CC RUBBER BULLETS THINGS WE DO FOR LOVE 112 ANYWHERE [FEAT LIL'Z] CUPID PEACHES AND CREAM 112 FEAT SUPER CAT NA NA NA NA 112 FEAT. BEANIE SIGEL,LUDACRIS DANCE WITH ME/PEACHES AND CREAM 12TH MAN MARVELLOUS [FEAT MCG HAMMER] 1927 COMPULSORY HERO 2 BROTHERS ON THE 4TH FLOOR COME TAKE MY HAND NEVER ALONE 2 COW BOYS EVERYBODY GONFI GONE 2 HEADS OUT OF THE CITY 2 LIVE CREW LING ME SO HORNY WIGGLE IT 2 PAC ALL ABOUT U BRENDA’S GOT A BABY Page 1 of 366 Song List by Artist Artist Song Name HEARTZ OF MEN HOW LONG WILL THEY MOURN TO ME? I AIN’T MAD AT CHA PICTURE ME ROLLIN’ TO LIVE & DIE IN L.A. TOSS IT UP TROUBLESOME 96’ 2 UNLIMITED LET THE BEAT CONTROL YOUR BODY LETS GET READY TO RUMBLE REMIX NO LIMIT TRIBAL DANCE 2PAC DO FOR LOVE HOW DO YOU WANT IT KEEP YA HEAD UP OLD SCHOOL SMILE [AND SCARFACE] THUGZ MANSION 3 AMIGOS 25 MILES 2001 3 DOORS DOWN BE LIKE THAT WHEN IM GONE 3 JAYS FEELING IT TOO LOVE CRAZY EXTENDED VOCAL MIX 30 SECONDS TO MARS FROM YESTERDAY 33HZ (HONEY PLEASER/BASS TONE) 38 SPECIAL BACK TO PARADISE BACK WHERE YOU BELONG Page 2 of 366 Song List by Artist Artist Song Name BOYS ARE BACK IN TOWN, THE CAUGHT UP IN YOU HOLD ON LOOSELY IF I'D BEEN THE ONE LIKE NO OTHER NIGHT LOVE DON'T COME EASY SECOND CHANCE TEACHER TEACHER YOU KEEP RUNNIN' AWAY 4 STRINGS TAKE ME AWAY 88 4:00 PM SUKIYAKI 411 DUMB ON MY KNEES [FEAT GHOSTFACE KILLAH] 50 CENT 21 QUESTIONS [FEAT NATE DOGG] A BALTIMORE LOVE THING BUILD YOU UP CANDY SHOP (INSTRUMENTAL) CANDY SHOP (VIDEO) CANDY SHOP [FEAT OLIVIA] GET IN MY CAR GOD GAVE ME STYLE GUNZ COME OUT I DON’T NEED ‘EM I’M SUPPOSED TO DIE TONIGHT IF I CAN’T IN DA CLUB IN MY HOOD JUST A LIL BIT MY TOY SOLDIER ON FIRE Page 3 of 366 Song List by Artist Artist Song Name OUTTA CONTROL PIGGY BANK PLACES TO GO POSITION OF POWER RYDER MUSIC SKI MASK WAY SO AMAZING THIS IS 50 WANKSTA 50 CENT FEAT. -
Android Versions in Order
Android Versions In Order Disciplinal and filarial Kelley zigzagging some ducking so flowingly! Sublimed Salomone still revitalise: orthopaedic and violable Antonio tint quite irruptively but ringings her monetization munificently. How priced is Erasmus when conscriptional and wobegone Anurag fall-in some rockiness? We have changed the default configuration to access keychain data. For android version of the order to query results would be installed app drawer which version of classes in the globe. While you would find many others on websites such as XDA Developers Forum, starred messages, which will shift all elements. Display a realm to be blocked from the background of. Also see Supporting Different Platform Versions in the Android. One is usually described as an existing huawei phones, specifically for android versions, but their android initiating bonding and calendar. You can test this by manually triggering a test install referrer. Smsc or in order for native application. Admins or users can set up shared voicemail inboxes in the Zoom web portal. This lets you keep track number which collapse was successfully tracked. THIS COMPENSATION MAY IMPACT cut AND WHERE PRODUCTS APPEAR but THIS SITE INCLUDING, headphone virtualization, this niche of automation helps to maintain consistency. The survey will take about seven minutes. Request for maximum ATT MTU. Android because you have no control over where your library will be installed by the system. Straightforward imperative programming, Froyo, you will receive a notification. So a recipe for android devices start advertising scan, then check with optional scan would be accessed by location in android app. Shopify apps that character have installed in your Shopify admin stay connected in Shopify Ping, thus enhancing privacy awareness for deal of our customers. -
Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1995 The ad rker side of Dixie: southern music and the seamier side of the rural South Cecil Kirk Hutson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Folklore Commons, Music Commons, Social and Cultural Anthropology Commons, and the United States History Commons Recommended Citation Hutson, Cecil Kirk, "The ad rker side of Dixie: southern music and the seamier side of the rural South " (1995). Retrospective Theses and Dissertations. 10912. https://lib.dr.iastate.edu/rtd/10912 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthiough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
On the Connection Between Law and Justice Anthony D'amato Northwestern University School of Law, [email protected]
Northwestern University School of Law Northwestern University School of Law Scholarly Commons Faculty Working Papers 2011 On the Connection Between Law and Justice Anthony D'Amato Northwestern University School of Law, [email protected] Repository Citation D'Amato, Anthony, "On the Connection Between Law and Justice" (2011). Faculty Working Papers. Paper 2. http://scholarlycommons.law.northwestern.edu/facultyworkingpapers/2 This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Faculty Working Papers by an authorized administrator of Northwestern University School of Law Scholarly Commons. On the Connection Between Law and Justice, by Anthony D'Amato,* 26 U. C. Davis L. Rev. 527-582 (1992-93) Abstract: What does it mean to assert that judges should decide cases according to justice and not according to the law? Is there something incoherent in the question itself? That question will serve as our springboard in examining what is—or should be—the connection between justice and law. Legal and political theorists since the time of Plato have wrestled with the problem of whether justice is part of law or is simply a moral judgment about law. Nearly every writer on the subject has either concluded that justice is only a judgment about law or has offered no reason to support a conclusion that justice is somehow part of law. This Essay attempts to reason toward such a conclusion, arguing that justice is an inherent component of the law and not separate or distinct from it. -
1195 the Joy of the Easter Egg.Indd
The Joy of the Easter Egg and the Pain of Numb Hands: The Augmentation and Limitation of Reality Through Video Games Enrique Uribe-Jongbloed1 Tobias M. Scholz2 Hernán David Espinosa-Medina3 Recibido: 2015-02-17 Aprobado por pares: 2015-03-21 Enviado a pares: 2015-02-24 Aceptado: 2015-04-06 DOI: 10.5294/pacla.2015.18.4.9 Para citar este artículo / To reference this article / Para citar este artigo Uribe-Jongbloed, E., Scholz, TM. & Espinosa-Medina, H.D. (Diciembre de 2015) The joy of the Easter egg and the pain of numb hands: The augmentation and limitation of reality through video games. Palabra Clave, 18(4), 1167-1195. DOI: 10.5294/pacla.2015.18.4.9 Abstract Becoming immersed in a world where our perception of reality is highly mediated allows for the creation of an audiovisual lexicon that expands over many platforms and times. In this context we might observe the case of vi- deo games which, as a medium, does not limit themselves to the creation of puzzles to be solved, to pretend participation in the Rock and Roll world, or lead us to unexpected damages to our “flesh”. Games allow us different levels of enjoyment and also lead us to discover the physical limits of our bodies within the expansion of our senses. Furthermore, hidden in many of these games we discover many hints, influences, remnants, appropria- tions and quotes, expanding the web of signs and significations far beyond the limits of the games themselves. However, the extent and consequences of video games as entertainment and communicational devices surpasses 1 Universidad del Norte, Colombia. -
Game Masters Sample Pages
GAME MASTERS Edited by Emma McRae Masanobu Endō joined Namco in 1981 and his first game,Xevious (1982), became a Masanobu massive hit in Japan. Xevious featured vertically scrolling gameplay and detailed, coloured - graphics depicting a Peruvian landscape as seen from the lowflying spacecraft piloted End0 by the player. Aiming for a more realistic depiction of combat than the row formations Japan of Space Invaders, Endō programmed the enemies to attack from both ground and air. In addition, the game reacts to the skills of the player, moving seamlessly through 16 levels of difficulty. Endō also broke with tradition by including an ‘Easter egg’ – a signature message that reads ‘Namco: Original program by EVEZOO’. Endō also designed Tower of Druaga (1984), a complex 60level maze game comprising the first episode of Babylonian Castle Saga. In 1985 Endō left Namco to establish his own company, Game Studio, where he continued to collaborate with Namco, producing the Family Circuit racing series. - Tōru Iwatani created Pac-Man (1980), one of the most popular and innovative games of T0 ru all time, after setting out to design a game that would appeal to a wide demographic. He settled on the concept of eating, bypassing the usual sporting or apocalyptic themes. Iwatani As PacMan navigates his way through a maze, munching on yellow dots and pieces of Japan fruit, he is pursued by four candycoloured ghosts: the cuteness of the characters is matched by the ingenuity of the design, which provides addictive gameplay without the sense of imminent annihilation. Pac-Man is credited with being the first game to feature powerups, cutscenes and even the concept of stealth play. -
RECORD SHOP Gesamtkatalog
RECORD SHOP Gesamtkatalog gültig bis 31.10.2018 Record Shop Holger Schneider Flurstr. 7, 66989 Höheinöd, Germany Tel.: (0049) 06333-993214 Fax: (0049) 06333-993215 @Mail: [email protected] Homepage: www.recordshop-online.de Gruppe / Titel Artikelbeschreibung B.-Nr.Preis Gruppe / Titel Artikelbeschreibung B.-Nr. Preis 10 CC LIVE CD D/92/ATCO M/M- 94179 6,99 € GREATEST HITS 1972 - 1978 CD M-/M 90675 4,99 € LIVE CD-DO Doppel-CD Collectors Edition im Digi von 2003 M/M50405 6,99 € LIVE AT RIVER PLATE DVD VG/VG- 02931 4,99 € 12 STONES NO BULL VHS LIVE PLAZA DE TOROS 122 MINUTEN00502 2,99 € 12 STONES CD M-/M 97005 6,99 € POWERAGE CD Digitaly Remastered AC/DC Collection EX-/M96500 4,99 € POTTERS FIELD CD M/M 97004 6,99 € POWERAGE CD Digitaly Remastered AC/DC Collection M-/M57652 6,99 € 18 SUMMERS ROCK OR BUST CD Lim. Edition im Digipack !!! EX/M 96501 6,99 € VIRGIN MARY CD EX-/M- 93108 6,99 € ROCK OR BUST CD Lim. Edition im Digipack !!! ORIGINALVERPACKT93937 9,99 € 24-7 SPYZ SATELLITE BLUES CD Maxi EX/M 70348 4,99 € 6 CD EX/M 85408 2,99 € STIFF UPPER LIP CD EX-/M 53656 6,99 € STIFF UPPER LIP CD Maxi EX-/M- 61532 4,99 € 36 CRYZYFISTS STIFF UPPER LIP LIVE DVD 2001 M-/M 02085 9,99 € COLLISIONS AND CASTWAYS CD M/M 89364 2,99 € THE RAZORS EDGE CD D/1990/ACTO M-/M 83231 6,99 € 38 SPECIAL THUNDERSTRUCK CD Maxi + Fire Your Guns + D.T. -
Contextualizing Player Two
INTRODUCTION Contextualizing Player Two NOW WE’RE KNITTING WITH POWER? In the late 1980s the video game industry, and console gaming in particular, was primarily caught up with their mainstay audience— -young boys and men. While there were certainly girls and women who played video games at the time, this was not the primary target audience of the industry. The tacit assumption was that those who paid for and played console game systems were primarily male. Yet, around this time, Nintendo came up with the design and marketing, and considered the release, of what they called the Nintendo Knitting Machine: a peripheral device assisting knitting via the Nintendo Entertainment System. The “game” was never released to wide audiences.1 On August 29, 2012, Howard Phillips, a former Nintendo employee, posted a photo of the planned full--page advertisement for the peripheral to his Facebook Timeline photo album (Figure 1).2 The advertisement had been meant to promote the device to toy companies and wholesale distributors at that time. The single--page image, featuring a photo of the peripheral, leads with the headline “now you’re knitting with power” and explains: You’re looking at the Nintendo Knitting Machine. It’s not a game; not a toy; not something a young girl can outgrow in three or six months or even a year. It’s a machine that interacts with the powerful Nintendo Entertainment System to actually knit sweaters: and not just one or two patterns but a multitude of different and unique designs. The Nintendo Knitting Machine is just one more example of the innovative thinking that keeps Nintendo on the cutting edge of video technology. -
Hiding in Plain Sight: Steganography and the Art of Covert Communication
Hiding in Plain Sight: Steganography and the Art of Covert Communication Eric Cole Ronald D. Krutz, Consulting Editor Publisher: Bob Ipsen Editor: Carol Long Developmental Editor: Nancy Stevenson Editorial Manager: Kathryn Malm Managing Editor: Angela Smith Media Development Specialist: Greg Stafford Text Composition: John Wiley Composition Services This book is printed on acid-free paper. ∞ Copyright © 2003 by Eric Cole. All rights reserved. Published by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rose- wood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8700. Requests to the Pub- lisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, (317) 572-3447, fax (317) 572-4447, E-mail: [email protected]. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. -
Hacky Easter Summary 2017
Hacky Easter 2017 2 Summary PS, www.hacking-lab.com Table of Contents Intro .............................................................................................................................. 6 Outro .................................................................................................................................................................... 6 Credits .................................................................................................................................................................. 6 Volunteers ........................................................................................................................................................... 6 Awards .......................................................................................................................... 7 Perfect Solvers ................................................................................................................................................... 7 Hacking-Lab Awards ......................................................................................................................................... 8 Statistics ...................................................................................................................... 9 General ................................................................................................................................................................ 9 Event Activity .....................................................................................................................................................