Modul8 User Manual TABLE of CONTENTS
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
State of Oklahoma
STATE OF OKLAHOMA 1st Extraordinary Session of the 47th Legislature (1999) SENATE BILL 1x By: Robinson AS INTRODUCED An Act relating to the Corporation Commission; amending Section 2, Chapter 408, O.S.L. 1997, as amended by Section 9, Chapter 246, O.S.L. 1998 (17 O.S. Supp. 1998, Section 139.102), which relates to the Oklahoma Telecommunications Act; modifying definition; and providing an effective date. BE IT ENACTED BY THE PEOPLE OF THE STATE OF OKLAHOMA: SECTION 1. AMENDATORY Section 2, Chapter 408, O.S.L. 1997, as amended by Section 9, Chapter 246, O.S.L. 1998 (17 O.S. Supp. 1998, Section 139.102), is amended to read as follows: Section 139.102 As used in the Oklahoma Telecommunications Act of 1997: 1. "Access line" means the facility provided and maintained by a telecommunications service provider which permits access to or from the public switched network; 2. "Commission" means the Corporation Commission of this state; 3. "Competitive local exchange carrier" or "CLEC" means, with respect to an area or exchange, a telecommunications service provider that is certificated by the Commission to provide local exchange services in that area or exchange within the state after July 1, 1995; 4. "Competitively neutral" means not advantaging or favoring one person over another; 5. "End User Common Line Charge" means the flat-rate monthly interstate access charge required by the Federal Communications Commission that contributes to the cost of local service; Req. No. 5010 Page 1 6. "Enhanced service" means a service that is delivered over communications transmission facilities and that uses computer processing applications to: a. -
Digital Television Systems
This page intentionally left blank Digital Television Systems Digital television is a multibillion-dollar industry with commercial systems now being deployed worldwide. In this concise yet detailed guide, you will learn about the standards that apply to fixed-line and mobile digital television, as well as the underlying principles involved, such as signal analysis, modulation techniques, and source and channel coding. The digital television standards, including the MPEG family, ATSC, DVB, ISDTV, DTMB, and ISDB, are presented toaid understanding ofnew systems in the market and reveal the variations between different systems used throughout the world. Discussions of source and channel coding then provide the essential knowledge needed for designing reliable new systems.Throughout the book the theory is supported by over 200 figures and tables, whilst an extensive glossary defines practical terminology.Additional background features, including Fourier analysis, probability and stochastic processes, tables of Fourier and Hilbert transforms, and radiofrequency tables, are presented in the book’s useful appendices. This is an ideal reference for practitioners in the field of digital television. It will alsoappeal tograduate students and researchers in electrical engineering and computer science, and can be used as a textbook for graduate courses on digital television systems. Marcelo S. Alencar is Chair Professor in the Department of Electrical Engineering, Federal University of Campina Grande, Brazil. With over 29 years of teaching and research experience, he has published eight technical books and more than 200 scientific papers. He is Founder and President of the Institute for Advanced Studies in Communications (Iecom) and has consulted for several companies and R&D agencies. -
The Epic Guide to Branded Video “There's Always Room for a Story That Can Transport People to Another Place.”
The Epic Guide to Branded Video “There's always room for a story that can transport people to another place.” J.K. Rowling Foreword Jerrid Grimm Co-Founder & CEO, Pressboard Our sincerest thanks to The power of video is undeniable. The combination of sight and sound evokes emotional responses difficult to replicate through any other format. A story told through video can make people burst into laughter or shed tears of sadness. Video transports the viewer to another place, another time — and with advances in virtual reality it’s even possible to see the world through someone else’s eyes. What video is not, by any means, is easy. Fraught with challenges in production, distribution and measurement, video is one of the most resource-heavy creative processes out there. As brands move from making one or two TV commercials a year to creating weekly or even daily video for social media, these challenges grow exponentially. Pressboard is a story marketplace. We make it easy for brands to collaborate with hundreds of media publishers on video content — instead of ads. In that same collaborative spirit, we created this guide to combine the wisdom of the greatest video minds in the world and turn those insights into actionable advice that marketers, publishers, creators and technologists can all apply to their own brands. We cannot wait to see the stories that you will tell. 3 Foreword Mark Greenspan Chief Influencer, influenceTHIS Founding Members In an effort to support the growth of the branded content industry in Canada we have partnered with Pressboard to distribute this report to marketers, advertisers, influencer networks and creators. -
Digital Transformation Through Data: a Guide for News and Media Companies to Drive Value with Data March 2019 Content
In collaboration with the Activation Guide Digital transformation through data: a guide for news and media companies to drive value with data March 2019 Content Data foundations 7 Culture and ways of working ............................................ 8 Skills ................................................................................... 10 Technology........................................................................ 12 Data ................................................................................... 14 Use cases 17 Improve overall reader engagement Content planning ............................................................. 18 Recirculation ..................................................................... 20 Reader experience ........................................................... 22 Increase direct-paying relationships with readers Subscription pricing and promotion ............................. 24 Design for reader lifetime value (LTV) ........................... 26 Revenue diversification ................................................... 28 Drive revenue from advertisers Audience-based advertising ........................................... 30 Advertising pricing strategy ............................................ 32 Inventory yield management ......................................... 34 Data activation guide: news and media companies | INTRODUCTION 3 Introduction Digital innovation has reshaped the news To capitalize on this evolution, news and and media industry. The transition from print media companies -
The Digital Dilemma 2 Perspectives from Independent Filmmakers, Documentarians and Nonprofi T Audiovisual Archives
Copyright ©2012 Academy of Motion Picture Arts and Sciences. “Oscar,” “Academy Award,” and the Oscar statuette are registered trademarks, and the Oscar statuette the copyrighted property, of the Academy of Motion Picture Arts and Sciences. The accuracy, completeness, and adequacy of the content herein are not guaranteed, and the Academy of Motion Picture Arts and Sciences expressly disclaims all warranties, including warranties of merchantability, fi tness for a particular purpose and non-infringement. Any legal information contained herein is not legal advice, and is not a substitute for advice of an attorney. All rights reserved under international copyright conventions. No part of this document may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without permission in writing from the publisher. Published by the Academy of Motion Picture Arts and Sciences Inquiries should be addressed to: Science and Technology Council Academy of Motion Picture Arts and Sciences 1313 Vine Street, Hollywood, CA 90028 (310) 247-3000 http://www.oscars.org Printed in the United States of America Library of Congress Cataloging-in-Publication Data The Digital Dilemma 2 Perspectives from Independent Filmmakers, Documentarians and Nonprofi t Audiovisual Archives 1. Digital preservation – Case Studies. 2. Film Archives – Technological Innovations 3. Independent Filmmakers 4. Documentary Films 5. Audiovisual I. Academy of Motion Picture Arts and -
FCPX Editing Workflow 10.3
Final Cut Pro X Editing Workflow Basic Video Editing in Final Cut Pro X FCPX v10.3 November 16, 2016 Gary Roll Apple Certified Pro, Final Cut Pro X, and Post Production Specialist, CAPS Media v20161116.1 Page 1! of !17 Final Cut Pro X Editing Workflow Overview" " 1. Plan what you want to do 2. Get organized before you start 3. Gather your media 4. Build your story in the storyline 5. Organize your story 6. Trim your story 7. Add transitions 8. Add text and graphics 9. Polish your audio (audio repair and mix) 10. Adjust your color (color correctionand grading) 11. Share (Export) your finished project for web, computer, or DVD 12. Archive your project " Courtesy Larry Jordan; www.larryjordan.com Libraries, Events, and Projects First, a little housekeeping: When importing footage and other content into Final Cut Pro X, it should be placed within your library. If you don’t have a library, you’ll need to create one. Once created, all of your content for all of your shoots and projects will need to go inside that same library. Each individual user should have their own library-and only one library. Your library will contain all of your events, which are containers that hold clips, photos, audio files, etc. for use in your projects. Projects themselves are also kept inside Events. Think of it this way: An old-school file cabinet (your library) holds drawers (your events) of raw video clips, photos, and similar items. Within those drawers, there are file folders, which hold a group of items placed together in a deliberate sequence (your project), which is the story told by assembling those video clips, photos, transitions, and other elements in a coherent and attractive order. -
The State of Recorded Sound Preservation in the United States: a National Legacy at Risk in the Digital Age
The State of Recorded Sound Preservation in the United States: A National Legacy at Risk in the Digital Age August 2010 Commissioned for and sponsored by the CounCil on library and information resourCes and the library of Congress The State of Recorded Sound Preservation in the United States: A National Legacy at Risk in the Digital Age August 2010 from last round: National Recording Preservation Board OF THE LIBRARY OF CONGRESS revised: Commissioned for and sponsored by the National Recording Preservation Board OF THE LIBRARY OF CONGRESS Council on Library and Information Resources and The Library of Congress Washington, D.C. National Recording Registry OF THE LIBRARY OF CONGRESS The National Recording Preservation Board The National Recording Preservation Board was established at the Library of Congress by the National Recording Preservation Act of 2000. Among the provisions of the law are a directive to the Board to study and report on the state of sound recording preservation in the United States. More information about the National Recording Preservation Board can be found at http://www.loc.gov/rr/record/nrpb/. ISBN 978-1-932326-36-9 CLIR Publication No. 148 Copublished by: Council on Library and Information Resources 1752 N Street NW, Suite 800 Washington, DC 20036 Web site at http://www.clir.org and The Library of Congress 101 Independence Avenue, SE Washington, DC 20540 Web site at http://www.loc.gov Additional copies are available for $30 each. Orders must be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/abstract/pub148abst.html. -
WHY VIDEO? Video Content Engages Viewers at Every Level – It Educates, Entertains and Inspires Them
INTRODUCTION If your company is not using video to build its brand and attract new customers, you are already behind the curve. In the rapid-paced world of mass-media and Internet marketing, simple text or boring PowerPoint presentations no longer grab and retain consumers’ attention. Four times as many customers would rather watch a video explaining the benefits of a product than read the same information,1 and video’s popularity continues to grow. 43% Marketing software company Hubspot reports that 43 Consumers who actually percent of consumers want to see more video content want to see more video from marketers.2 When was the last time you heard that from marketers. Source: Hubspot consumers actually want to be marketed to? 1 Animoto, 2015 2 16 Video Marketing Statistics to Inform your Q4 Strategy 1 The numbers on video’s rapid and continued growth as a business communication platform are staggering: • 80 percent of internet users will watch • 100 million people watch a video on the a video, while only 20 percent will read internet every day. the full contents of a web page. • Video will account for 80 percent of all • Users spend 88 percent more time on consumer traffic on internet by 2019. websites that include video content. And video’s value goes well beyond simply getting customers to hang around your website a little longer. Video is also a powerful medium for creating a lasting impression. Research indicates that viewers retain 95 percent of the information they consume while watching a video, compared to just 10 percent if they read the same information in simple text. -
Research.Pdf (1.519Mb)
OVERCOMING ENDOMETRIOSIS-ASSOCIATED PREIMPLANTATION EMBRYO DEVELOPMENTAL ANOMALIES BY CULTURE _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Science _____________________________________________________ by JUSTIN MEREDITH HENNINGS Dr. Kathy L. Sharpe-Timms, Thesis Supervisor DECEMBER 2013 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled OVERCOMING ENDOMETRIOSIS-ASSOCIATED PREIMPLANTATION EMBRYO DEVELOPMENTAL ANOMALIES BY CULTURE presented by Justin M. Hennings, a candidate for the degree of master of science, and hereby certify that, in their opinion, it is worthy of acceptance. Dr. Kathy L. Sharpe-Timms Dr. Peter Sutovsky Dr. Randall Prather ACKNOWLEDGEMENTS To begin with, I would like to thank my graduate thesis committee, composed of Drs. Kathy L. Sharpe-Timms, Peter Sutovsky, and Randall Prather, for all of the advice and guidance that they have given me over the last couple of years. Dr. Prather has helped me to understand the intricacies behind embryo culture media. Dr. Sutovsky has been kind enough to contribute his extensive knowledge of fluorescent microscopy and imaging techniques, aiding in my pursuit to photograph and analyze hundreds of embryos. I am also very appreciable for the trust that Dr. Sutovsky and his entire laboratory team have put in me by allowing my use of their equipment, including the Nikon 800 fluorescent scope. Also - thanks to Miriam Sutovsky for her patience in training me to fix and process my embryo samples, along with Dr. Young-Joo Yi, Wonhee Song, and TJ Miles for helping me in navigating their laboratory! Finally: I need to extend a heartfelt ‘thank you’ to my advisor, Dr. -
Blu-Ray Disc PLAYER Thank You for Buying This Pioneer Product
Operating Instructions Blu-ray Disc PLAYER Thank you for buying this Pioneer product. Please read through these operating instructions so you will know how to operate your model properly. After you have finished reading the instructions, put them away in a safe place for future reference. IMPORTANT CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN The lightning flash with arrowhead symbol, CAUTION: The exclamation point within an equilateral within an equilateral triangle, is intended to TO PREVENT THE RISK OF ELECTRIC triangle is intended to alert the user to the alert the user to the presence of uninsulated SHOCK, DO NOT REMOVE COVER (OR presence of important operating and "dangerous voltage" within the product's BACK). NO USER-SERVICEABLE PARTS maintenance (servicing) instructions in the enclosure that may be of sufficient INSIDE. REFER SERVICING TO QUALIFIED literature accompanying the appliance. magnitude to constitute a risk of electric SERVICE PERSONNEL. shock to persons. D3-4-2-1-1_En-A IMPORTANT NOTICE D1-4-2-6-1_En NOTE: !#"!"!"#"'%"""! !!"$# !#"" "" #!!"! !" $ ! ""!" #" !"!""!#" "!#!! " #' '" !"#! %""!" #"!'#! #" " #"! %$ " !# """" %"# "# !"" "!#"! #! #" " "$! "%" '"# "#" "#! !# "" '" """ ' "%!# ! ( " "" $" ( !"! ""%"#" $ ( ""#""#"" #" " """%" $ !" ( !#"" & " D8-10-1-2_En Information to User D8-10-2_En !# CAUTION: D8-10-3a_En "! !!$ !-.6)*9.(*(3140.*6:.7-4&57 3+7-*80*64*5&7.32.668'/*(7737-*+3003:.2,7:3(32).7.326!-.6 )*9.(*1&;237(&86*-&51+80.27*5+*5*2(*&2) 7-.6)*9.(*1867&((*47&2;.27*5+*5*2(*5*(*.9*).2(08).2, .27*5+*5*2(*7-&71&;(&86*82)*6.5*)34*5&7.32 53)8(7&1*085&;.6( $ 3)*081'*5 *64326.'0*&57;&1*! # ))5*66 "% ! " -32* CAUTION : USE OF CONTROLS OR ADJUSTMENTS OR PERFORMANCE OF PROCEDURES OTHER THAN THOSE SPECIFIED HEREIN MAY RESULT IN HAZARDOUS RADIATION EXPOSURE. -
Manga Vision: Cultural and Communicative Perspectives / Editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, Manga Artist
VISION CULTURAL AND COMMUNICATIVE PERSPECTIVES WITH MANGA ARTIST QUEENIE CHAN EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL MANGA VISION MANGA VISION Cultural and Communicative Perspectives EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL WITH MANGA ARTIST QUEENIE CHAN © Copyright 2016 Copyright of this collection in its entirety is held by Sarah Pasfield-Neofitou and Cathy Sell. Copyright of manga artwork is held by Queenie Chan, unless another artist is explicitly stated as its creator in which case it is held by that artist. Copyright of the individual chapters is held by the respective author(s). All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building 40 Exhibition Walk Monash University Clayton, Victoria 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/mv-9781925377064.html Series: Cultural Studies Design: Les Thomas Cover image: Queenie Chan National Library of Australia Cataloguing-in-Publication entry: Title: Manga vision: cultural and communicative perspectives / editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, manga artist. ISBN: 9781925377064 (paperback) 9781925377071 (epdf) 9781925377361 (epub) Subjects: Comic books, strips, etc.--Social aspects--Japan. Comic books, strips, etc.--Social aspects. Comic books, strips, etc., in art. Comic books, strips, etc., in education.