DOCSLIB.ORG

1 This Is a PDF of the Word File Described Below

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

This is a PDF of the Word file described below - Future Developments in the Music Market from April 1995. The original Word 2.0 file is hard to read on modern (later than 2003?) versions of Word. For this PDF version, I have used the correct illustration for Fig 17.6. The Word file and a number of other items, such as a May 1996 update are in a file FDMM.ZIP which you can find at: http://www.firstpr.com.au/musicmar/mmed.html#fdmm If you are really interested in this field, please take a look at the zip file. Please also see: http://www.firstpr.com.au/musicmar/ for a later, shorter, paper Music Marketing in the Age of Electronic Delivery. This includes discussions of the limitations of the 1995 draft, such as: 1 - Not anticipating decent quality music could be achieved with such high rates of compression as 10:1, as is done with MP3. 2 - Thinking that ADSL deployment and global high speed data connections would be done primarily for Video On Demand, with Internet access being a secondary function. (Funny now that Internet access is now ubiquitous in the developed world, and that a lot of the bandwidth is spent on YouTube videos and now, ca. 2011 with actual Video on Demand services finally emerging!) I have Corel Draw and .eps versions of these diagrams, if anyone is interested. In 2011, I am not actively involved in this field, but have been talking with Liz Guiffre of Macquarie University, who is working on a PhD concerning, amongst other things, the challenges posed to the music industry by Internet communications etc. Her forthcoming thesis concerns broader patterns of challenges to existing methods of communication and how the various industries adapt. Denizens of later days - if you can’t find her work, please email me at [email protected] and I will forward your message to her. 1 Future Developments in the Music Market FUTURE DEVELOPMENTS IN THE MUSIC MARKET Discussing the Australian Music Industry 1995 to 2010 Draft for the Contemporary Music Summit in Canberra 27 April 1995 Robin Whittle 11 April 1995 Revised copyright notice 4 May 1995 This file is in the Microsoft Word for Windows 2.0 format. This means you should be able to import it into later Word versions for Mac and Windows. Let me know if you have any trouble. Virtually all the text is meant to be in the TrueType style "Arial". This is the BTCE standard. I am not sure what the best equivalent in the Mac, PostScript world is - any different font may slightly change the formatting and pagination of the document. This document is intended to be printed on A4 paper. This is fdmm.doc - the full final file including .eps , with the formatting set to ragged right - which I prefer. (The printed version is justified right.) If for some reason you reformat this for different sized paper and want to generate a new table of contents, turn on View Annotations and look at the annotations at the three TOCs. To print on US letter paper, it would probably be easier to change the scaling of your printer driver. Other versions may be: fdmm_ng.doc As above but without the .eps graphics pictures. fdmm.zip Compressed versions of the above. Use PKUNZIP on an IBM fdmm_ng.zip PC to de-compress them. (Or stuffit on the Mac). fdmm_eps.zip Compressed graphics files in .eps format - import them into various programs and print them on PostScript, and perhaps other, printers. fdmm_gif.zip Compressed graphics files in .gif format - import them into various programs and print them on virtually any kind of printer. The printed version contains a few pasted in diagrams, which I do not have electronic versions of. They are not crucial. Robin Whittle 4 May 1995 ii Copyright Commonwealth of Australia 1995 (Not Robin Whittle as in the printed version!) This work is copyright. This electronic version is being given to particular people to stimulate discussion and to generate feedback to the author. This is not intended for widespread distribution. Publication in whole or in part is (as far as I am aware) contrary to the requirements of the BTCE. If you do want to use some of this material, please check with me, or Jen St Clair at the BTCE. 100 copies of this paper were printed by the Bureau of Transport and Communication Economics for the Contemporary Music Summit, as a step towards producing a final BTCE Occasional Paper. 30 copies were printed subsequently for other interested people. This is an author's draft, _not_ a BTCE document. The BTCE's project officer for Future Developments in the Music Market is Jen St Clair - ph -- ---- ----. First Principles Research and Expression Robin Whittle (old address) Australia email [email protected] or [email protected] WWW http://www.ozemail.com.au/~firstpr Note 2011: My website is http://www.firstpr.com.au and email address is [email protected]. The BTCE no longer exists and they never actually published this work, apart from the 100 copies of this draft, as mentioned above. Theoretically it is still copyright by the Commonwealth, but I doubt anyone cares. I have made it available at my site since 1999 or so. iii Future Developments in the Music Market FOREWORD (Revised 4 May 1995) This paper examines the impact of technological change on different aspects of the music industry, primarily musical production, distribution and marketing. It is an author's draft which explains technology and speculates on future scenarios. This paper is the result of research which was initially intended to be part of the Communications Futures Project - a major research project by the Bureau of Transport and Communication Economics (BTCE). The first aim of printing and circulating this draft is to stimulate discussion, especially for the Contemporary Music Industry Summit in Canberra on 27 April. The second aim is to gain feedback from industry to contribute to a final version which the BTCE plans to publish as an Occasional Paper. BTCE Occasional Papers are widely available through the Australian Government Publishing Service. Please contact me with your feedback at the address shown on the previous page before the end of May. I would like to thank Chris Cheah and Jen St Clair, who initiated and supported this project at the BTCE, and the people who have given me information, critical feedback and support. While the economic importance of the Australian music industry is undoubted, and the technical and social aspects of the communications revolution are fascinating and momentous, it is the music which most motivates me to explore the prospects for this industry. While it is described in this paper as a product, music is really a gift - and I cannot express in writing how wonderful and diverse my music listening (and occasional music making) experiences have been. I am optimistic for the prospects of the Australian music industry and I hope this paper contributes to its vibrancy. Robin Whittle 11 April 1995 iv CONTENTS Comment [RW1]: Page: 4 Tricks for the TOC dept. To Foreword iii update each of the three TOCs Table of tables xi - contents, tables and figures - select View Field Codes, Table of figures xii highlight the field code and press F9. When View Field CHAPTER 1 INTRODUCTION 1 Codes is turned off, the TOC will appear. However : The BTCE Communications Futures Project 1 Assumed knowledge 2 1 - There is some kind of glitch in the Toc 7 and Toc 8 styles. Approach and structure of the paper 2 The styles seem to be OK, but Issues which are not addressed in this paper 4 when the TOCs for tables and Economic size and structure of the industry - the MIAC report 5 figures are created, an extra tab stop is inserted just past 2". Income flows - copyright and licences 13 This upsets the position of the Breakdown of revenue from a CD sale 14 page number on lines which Recorded music volume and revenues 18 are longer than one line. The solution is to get rid of this tab Other characteristics of the industry 19 stop either manually for all the Bottlenecks in distribution and promotion 19 lines, or by reseting the offending lines to their style. The role of commercial radio 22 Commercial radio's musical preferences 23 2 - For readability, I want to put New diffusion systems for a wider range of music 25 page breaks in the contents TOC. This makes it longer, Today's proliferation of music and musical styles 26 placing the tables and figures New methods of diffusion 27 TOCs at a higher page number Structural changes to the industry 27 than they were when the contents TOC is generated. This could be fixed by fixing the CHAPTER 2 HISTORICAL BACKGROUND 29 page number for the tables TOC, but for now I will just edit To the 1940s 29 the page numbers in the Tape and vinyl - from the 1950s 31 contents TOC for these two Digitisation - the 1980s 32 TOCs. CDs of the near future 33 CHAPTER 3 DIGITISATION, COMPRESSION AND QUALITY 35 CD quality 35 Compression of digital audio 36 Lossless compression 36 Lossy compression 38 CHAPTER 4 STORAGE TECHNOLOGIES 45 DAT 45 DCC 46 Mini Disc - a Magneto-Optical Disc 46 Magnetic hard-disks 48 CD-Rs - write once CDs 49 New CD data formats 51 The International Standard Recording Code 55 New CD physical formats 56 635 nm red light discs 57 Market prospects for red light discs 58 Hi-resolution red light music discs 59 Audio books and spoken word 60 Red light discs - conclusion 61 425 nm blue light discs 63 Market prospects for blue light discs 64 CD and CD-R data capacities and availability 65 v Future Developments in the Music Market Magneto-Optical vs.
Recommended publications
  • Advanced-Game-Design-With-Html5

    Advanced-Game-Design-With-Html5

    www.allitebooks.com For your convenience Apress has placed some of the front matter material after the index. Please use the Bookmarks and Contents at a Glance links to access them. www.allitebooks.com Contents at a Glance About the Author .....................................................................................................xv About the Technical Reviewers .............................................................................xvii Acknowledgments ..................................................................................................xix Introduction ............................................................................................................xxi ■ Chapter 1: Level Up! .............................................................................................. 1 ■ Chapter 2: The Canvas Drawing API .................................................................... 59 ■ Chapter 3: Working with Game Assets ................................................................ 93 ■ Chapter 4: Making Sprites and a Scene Graph .................................................. 111 ■ Chapter 5: Making Things Move ........................................................................ 165 ■ Chapter 6: Interactivity ...................................................................................... 189 ■ Chapter 7: Collision Detection ........................................................................... 239 ■ Chapter 8: Juice It Up .......................................................................................
  • The Loved Ones (2009)

    The Loved Ones (2009)

    Screen Sound n3, 2012 ALL MASHED UP? Songs, Music and Allusionism in The Loved Ones (2009) Philip Hayward Abstract This article considers Australian director Sean Byrne’s 2009 horror/comedy feature film The Loved Ones with particular regard to its uses of allusionism within a popular genre context.1 Within this focus, the article explores the various musical components of the soundtrack (including critical use of specific songs), the creative template determined by the director and the creative input and decision making of various members of the production team. In this manner, the article profiles the film’s audio-visual text, the perceptions and motivations of the production team and considers how these relate to the film’s reception and box-office performance. Keywords The Loved Ones, allusionism, film songs, soundtrack, Australian film Allusionism — An Introduction Back in 1982 the film theorist Noel Carroll considered and, it is not unfair to say, fretted over, the prevalence of allusionism in a range of popular films. Carroll’s critical persona and aesthetic approach drew on two strands: the auteur school of film criticism that attempted to identify distinguished creative authors working within the (supposedly largely undistinguished) mainstream film industry; and a parallel interest in and commitment to the modernism of the western cinematic avant-garde. His anxiety over allusionism in popular cinema arose from a position that considered that, while classic auteur cinema and (successful) modernist works could be identified to have allusionism skillfully woven into the fabric of their texts (and, more broadly, into their author’s aesthetic visions), a range of popular cultural texts seemed increasingly inclined to simply display their allusionism without any deep or thematically significant intent.
  • We Re Living on Dog Food

    We Re Living on Dog Food

    WE’RE LIVING ON DOG FOOD von Richard Max Lowenstein Australien 2009 HDCAM 94 Min. OF Drehbuch: Richard Max Lowenstein, Kamera: Andrew de Groot, Schnitt: Richard Max Lowenstein, Produktion: Ghost Pictures, Produzenten: Richard Max Lowenstein, Andrew de Groot, Lynn- Maree Milburn, mit: Michael Hutchence, Rowland S. Howard, Ollie Olsen, Alannah Hill, Sam Sejavka, Kontakt: Media Luna New Films Richard Max Lowenstein, geboren 1951 im australischen Mel- bourne, studierte an der dortigen Swinburne Film und Televisi- on School Regie. 1979 machte er seinen Abschluss. Er ist Dreh- buchautor und Regisseur von vier Spielfilmen und zwei Doku- mentarfilmen. Er führte außerdem bei diversen preisgekrönten Musikvideos Regie, unter anderem für „INXS“ und „U2“, sowie Post-Punk in Melbourne Ende der 1970er-Jahre: Nick Cave, An eclectic and honest examination of Melbourne’s post-punk bei Konzert- und Fernsehfilmen. Lowenstein ist zudem als Pro- „The Birthday Party“, „Rowland S. Howard“, „Primitive Calcu- music scene of the late 1970s that spawned the likes of Nick duzent von Fernsehserien für den Sender „SBS Independent“ lators“, „The Ears“ und „Whirlywirld“ waren die Bands dieser Cave, the "Birthday Party", "Rowland S. Howard", the "Primiti- tätig. Zeit. Die damals angesagten Underground-Künstler erzählen ve Calculators", "Whirlywirld" and the unique little-band scene von ihrer Musik, der Mode, von den sie inspirierenden Einflüs- amongst many others. Participants proffer their recollections Filmografie sen, den legendären Clubs wie das „Seaview“ und später
  • Foundations for Music-Based Games

    Foundations for Music-Based Games

    Die approbierte Originalversion dieser Diplom-/Masterarbeit ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). MASTERARBEIT Foundations for Music-Based Games Ausgeführt am Institut für Gestaltungs- und Wirkungsforschung der Technischen Universität Wien unter der Anleitung von Ao.Univ.Prof. Dipl.-Ing. Dr.techn. Peter Purgathofer und Univ.Ass. Dipl.-Ing. Dr.techn. Martin Pichlmair durch Marc-Oliver Marschner Arndtstrasse 60/5a, A-1120 WIEN 01.02.2008 Abstract The goal of this document is to establish a foundation for the creation of music-based computer and video games. The first part is intended to give an overview of sound in video and computer games. It starts with a summary of the history of game sound, beginning with the arguably first documented game, Tennis for Two, and leading up to current developments in the field. Next I present a short introduction to audio, including descriptions of the basic properties of sound waves, as well as of the special characteristics of digital audio. I continue with a presentation of the possibilities of storing digital audio and a summary of the methods used to play back sound with an emphasis on the recreation of realistic environments and the positioning of sound sources in three dimensional space. The chapter is concluded with an overview of possible categorizations of game audio including a method to differentiate between music-based games.
  • Hitachi Unified Storage File Module File Services Administration Guide

    Hitachi Unified Storage File Module File Services Administration Guide

    Hitachi Unified Storage File Module File Services Administration Guide Release 12.5 MK-92HUSF004-09 December 2015 © 2011-2015 Hitachi, Ltd. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or stored in a database or retrieval system for any purpose without the express written permission of Hitachi, Ltd. Hitachi, Ltd., reserves the right to make changes to this document at any time without notice and assumes no responsibility for its use. This document contains the most current information available at the time of publication. When new or revised information becomes available, this entire document will be updated and distributed to all registered users. Some of the features described in this document might not be currently available. Refer to the most recent product announcement for information about feature and product availability, or contact Hitachi Data Systems Corporation at https://portal.hds.com. Notice: Hitachi, Ltd., products and services can be ordered only under the terms and conditions of the applicable Hitachi Data Systems Corporation agreements. The use of Hitachi, Ltd., products is governed by the terms of your agreements with Hitachi Data Systems Corporation. 2 Hitachi Unified Storage File Module File Services Administration Guide Hitachi Data Systems products and services can be ordered only under the terms and conditions of Hitachi Data Systems’ applicable agreements. The use of Hitachi Data Systems products is governed by the terms of your agreements with Hitachi Data Systems. By using this software, you agree that you are responsible for: a) Acquiring the relevant consents as may be required under local privacy laws or otherwise from employees and other individuals to access relevant data; and b) Verifying that data continues to be held, retrieved, deleted, or otherwise processed in accordance with relevant laws.
  • Dogs in Space Tail Credits

    Dogs in Space Tail Credits

    Title: For Christine Introducing MICHAEL HUTCHENCE as Sam SASKIA POST as Anna DEANNA BOND as The Girl NIQUE NEEDLES as Tim TONY HELOU as Luchio CHRIS HAYWOOD as Chainsaw Man Also with Anthony Peter Walsh Clare Laura Swanson Grant Adam Briscomb Leanne Sharon Jessop Nick Edward Clayton-Jones Mark Martii Coles Charles Chuck Meo Jenny Caroline Lee Barbara Fiona Latham Erica Stephanie Johnson Barry Gary Foley Lisa Glenys Osborne Anna's Girlfriends Allanah Hill Robyn McLellan Skinhead Troy Davies Leanne's Brothers John Murphy Troy Davies Owen Roberson Stacey Helen Phillips Chainsaw Woman Kelly Hoare Chainsaw Baby Robyn Lowenstein The Dealer Robert Ratti Sam's Mother Barbara Jungwirth Hardcore Hippie Beamish Elliot Policemen Noel Pennington Ted Fahrner Grant's Girls Michelle Bennett Lian Lunson Crazy George George Maleckas Pierre Hugo Race Terry Towelling Man Joe Camilleri Sales People Liz Meyers Tim McLaughlan Mount Waverley Mum Lillian Wilson Champion Girls Emma Di Clario Sybil Gibb TV Interviewer Helen Gianevsky Anna's Mum Jean Osborne Countdown Announcer Gavin Wood 3RRR D. J. Bohdan and Martha Butler, Kate Doherty, Harriet Freeman, Kelly Gallagher, Angela Howard, Tim Millikan, Marie Hoy, John Murphy, Sarah Newsome, Ollie Olsen, Miriam Smith, Miles Standish and Noah Taylor THE BANDS 'Dogs in Space' 'Whirlywirld' Edward Clayton-Jones Arnie Hanna Michael Hutchence David Hoy Chuck Meo John Murphy Nique Needles Ollie Olsen Glenys Osborne 'Too Fat To Fit Through the Door' 'Thrush and the C...S' Marcus Bergner Denise Grant Marie Hoy Marie Hoy John
  • The Little Bands Archive a Guide for Listening Pleasure Written by Alan

    The Little Bands Archive a Guide for Listening Pleasure Written by Alan

    The Little Bands Archive A Guide for Listening Pleasure W r i t ten b y Alan Bamford An Introduction ~ The Little Bands existed during 1979 - 1981 in and around Fitzroy with occasional migrations to North Melbourne and St Kilda to show off. There was also a contingent from Springv ale who made the journey to the centre occasionally and finally landed and settled in Johnston St, Abbotsford. They consisted of an extended friendship circle o f artists, art enthusiasts and spontaneous musicians, poets, performance artists and filmmakers . This menagerie would spend their time flinging ideas about and if a consenting quorum coalesced around any idea it usually found expression of some kind. It’s been rumoured that the Little Bands lacked any intellectual foundations. This is scurrilous and b eside the point. It’s also typical of the big fish in a small pond syndrome that we all suffered from at the time in the inner Melbourne alternative music scene. Tch Tch Tch!!!! The Littl e Bands were drenched in ideas – it ’ s just that the ideas served th e expression of feelings and thus at the time of performance may have been hidden amongst the onslaught of angst and joy that characterised Little Band nights. The first Little Band night actually occurred as part of a Boys Next Door gig in St Kilda. It w as uphill after that. The most common manifestation was in the Little Band itself. A spontaneous and usually short lived but vibrant and fresh agglomeration of folk, ideas and borrowed instruments would result in quick, intense and sharply focused perform ances of some material base d on a new idea.
  • Dogs in Space Music Credits

    Dogs in Space Music Credits

    THE BANDS 'Dogs in Space' 'Whirlywirld' Edward Clayton-Jones Arnie Hanna Michael Hutchence David Hoy Chuck Meo Johnn Murphy Nique Needles Ollie Olsen Glenys Osborne 'Too Fat To Fit Through the Door' 'Thrush and the C...S' Marcus Bergner Denise Grant Marie Hoy Marie Hoy John Murphy Danila Stirpe James Rogers Jules Taylor Ollie Olsen 'Primitive Calculators' 'Marie Hoy & Friends' Terry Dooley Marie Hoy Denise Grant Loki Stuart Grant Tim Millikan David Light John Murphy Ollie Olsen Musical Director Ollie Olsen Strange Noises John Murphy Music Research Bruce Milne Music Recorded at Richmond Recorders by Tony Cohen Music mixed at A.A.V. by Ross Cockle "Rooms for the Memory" Remixed by Nick Launay 'Shivers Video Clip' directed by Paul Goldman and Evan English 3RRR I.D. Written & Produced by Martin Armiger Sung by Jane Clifton THE MUSIC 'Dog Food' Performed by Iggy Pop, James Osterman Music (BMI), Administered by Bug Music Group, (P) 1980, Arista Records Inc., Courtesy of Arista Records 'Frankie Teardrop' Courtesy of Stamphyl Revega 'Dogs in Space' Written by Sam Sejavka and Mike Lewis 'Win/Lose' Written by Ollie Olsen, Performed by Whirlywirld, Courtesy of Missing Link Records 'True Love' Performed by The Marching Girls, Courtesy of Missing Link Records 'Sky Saw' Written by Brian Eno, Courtesy of E.G. Records Ltd. and E.G. Music Ltd. 'Skullbrains' Written by Marcus Bergner and Marie Hoy 'Shivers' Written by Roland S. Howard, Performed by Boys Next Door Courtesy of Mushroom Records 'Diseases' Composed by Thrush and The C...s 'Pumping Ugly Muscle' Composed by The Primitive Calculators 'Window to the World' Written by Ollie Olsen, Performed by Whirlywirld 'Happy Birthday' and 'Mr.
  • When Director Richard Lowenstein Opened the First Page of the Novel

    When Director Richard Lowenstein Opened the First Page of the Novel

    DOGS IN SPACE SYNOPSIS Set against the backdrop of Melbourne‟s late 70s punk rock scene, Dogs in Space chronicles life in a chaotic, squalid share house. Hippies, addicts, students and radicals fill their days and nights with sex, drugs, parties and television. A series of chaotic vignettes are balanced with the central romance between Sam (Michael Hutchence), the lead singer of the band, Dogs in Space and his lover Anna (Saskia Post) as the house spirals out of control. Hutchence is a brilliant symbol of reckless youth in this, his first dramatic screen role, giving Dogs in Space instant cult status upon its original release in 1986. Shortly following its release, Dogs in Space achieved cult status, and received Official Selection for the Berlin, Edinburgh, London, and New York Film Festivals. It has since been described by Geoff Andrew of Time Out as an "uplifting and deliciously different movie,” and was also singled out for praise by Harlan Kennedy of Film Comment magazine as one of a number of films from the late 1980s which brought “shifting perspectives, structural experiment, and highly discomforting stories and characters” into the fold of Australian cinema. Unscreened for over twenty years, this classic film has been painstakingly restored from the original negative and remixed in 5.1 digital sound. PRODUCTION COMPANIES GHOST PICTURES PTY. LTD. CENTRAL PARK FILMS PTY. LTD. ENTERTAINMENT MEDIA THE BURROWES FILM GROUP FILM VICTORIA AUSTRALIAN DISTRIBUTOR UMBRELLA ENTERTAINMENT COPYRIGHT: 2009 ORIGINAL RELEASE DATE: JANUARY 1, 1987. RATING: MA RUNNING TIME: 103 MINUTES ORIGINAL FILM STOCK: KODAK 5294, COLOUR. ORIGINAL FORMAT: 35MM DISTRIBUTION FORMAT: HDCAM LOCATION: MELBOURNE, VICTORIA, AUSTRALIA.
  • Files I Have Known

    Files I Have Known

    FILES I HAVE KNOWN FOREWORD The data reminiscences that follow are probably an unrewarding read. Published reminiscences stand as monuments to the ego of their authors. However, the true purpose of this text is to experimentally substitute digital files with written memories of those files, prompted by metadata. Can the original essence of a data file be recreated purely by words? Many of the files chosen here are obscure and not necessarily available online. It’s likely that the files themselves are of little interest if discovered without their context, forming only fragments of nonsensicality in the wider noise of online data. These reminiscences too may appear as yet further noise flung onto an internet already overpopulated with noise vying for visibility. But by intimately analysing one’s own files in terms of their emotional impact, the reader may come to appreciate that every file has a story. In our daily dealings with data, we partake in the creation of such stories, and the stories also create us. FILES I HAVE KNOWN CHAPTER I “dontryathome.zip” Size: 345KB (345,410 bytes) Created: 31 December 2004 13:53 Format: ZIP Archive “dontryathome.zip” was a compressed archive containing images randomly taken from the web. It’s a file I no longer possess, so all that exists of it now is the above scrap of metadata, the text of the email it was attached to, and the memory. This may well be the eventual fate of all data – future generations might only be left with metadata and memories to reminiscence over if either (a) the pace of technology outstrips the means to preserve and open obsolete file formats, or (b) a sudden cataclysmic environmental or economic global disaster annuls electronic technologies.
  • Lmod Documentation Release 8.5.16

    Lmod Documentation Release 8.5.16

    Lmod Documentation Release 8.5.16 Robert McLay Sep 24, 2021 Contents 1 PURPOSE 1 2 OVERVIEW 3 3 Lmod Web Sites 5 4 Introduction to Lmod 7 5 Installing Lmod 27 6 Advanced Topics 55 7 Topics yet to be written 119 8 Indices and tables 121 i ii CHAPTER 1 PURPOSE Lmod is a Lua based module system that easily handles the MODULEPATH Hierarchical problem. Environment Modules provide a convenient way to dynamically change the users’ environment through modulefiles. This includes easily adding or removing directories to the PATH environment variable. Modulefiles for Library packages provide environment variables that specify where the library and header files can be found. 1 Lmod Documentation, Release 8.5.16 2 Chapter 1. PURPOSE CHAPTER 2 OVERVIEW This guide is written to explain what Environment Modules are and why they are very useful for both users and system administrators. Lmod is an implementation of Environment Modules, much of what is said here is true for any environment modules system but there are many features which are unique to Lmod. Environment Modules provide a convenient way to dynamically change the users’ environment through modulefiles. This includes easily adding or removing directories to the PATH environment variable. A modulefile contains the necessary information to allow a user to run a particular application or provide access to a particular library. All of this can be done dynamically without logging out and back in. Modulefiles for applications modify the user’s path to make access easy. Modulefiles for Library packages provide environment variables that specify where the library and header files can be found.
  • Game Engine for Loc Game Engine for Location-Based Services Based

    Game Engine for Loc Game Engine for Location-Based Services Based

    FACULDADEDE ENGENHARIADA UNIVERSIDADEDO PORTO GameEngineforLocation -Based Services TiagoPintoFernandes MasterinInformaticsandComputingE ngineering Supervisor: AntónioCoelho(AuxiliarProfessor) June2010 Game Engine for Location Based Services – Tiago Fernandes – MIEIC / FEUP – 2009/2010 ©TiagoPintoFernandes,2010 2 Game Engine for Location Based Services – Tiago Fernandes – MIEIC / FEUP – 2009/2010 GameEngineforLocationBasedServices TiagoFernandes MasterinInformaticsAndComputingEngineering AprovadoemprovaspúblicaspeloJúri: Presidente:NomedoPresidente(Título) VogalExterno:NomedoArguente(Título) Orientador:NomedoOrientador(Título) ____________________________________________________ 3 Game Engine for Location Based Services – Tiago Fernandes – MIEIC / FEUP – 2009/2010 30deJunhode2010 Resumo O objectivo do presente projecto consiste em introduzir uma nova dimensão ao conceito de motor de jogo, através da implementação do conceito de Location-Based Services numa Frameworkdecriaçãodejogos.Hojeemdia,existe umgrandenúmerodemotoresdejogo, comerciaisougratuitos,disponíveisnomercado.Porém,poucoscontemplamapossibilidadede tirar partido das capacidades e conceitos relativos aos serviços de localização geográfica existentes. Os que procuram utilizar estes conceitos, normalmente estão muito longe do que habitualmenteéconsideradoummotordejogo,devidoaofactodenãoconseguiremfornecer umabasedeprogramaçãoestávelouumaplataformadedesenvolvimentoflexívelparaacriação dejogos,tendousualmenteporbaseplataformasWebnasquaisosutilizadoresdevemactualizar