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Eating After the Triple Disaster: New Meanings of Food in Three Post-3.11 Texts
EATING AFTER THE TRIPLE DISASTER: NEW MEANINGS OF FOOD IN THREE POST-3.11 TEXTS by ROSALEY GAI B.A., The University of Chicago, June 2016 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2020 © Rosaley Gai, 2020 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the thesis entitled: Eating After the Triple Disaster: New Meanings of Food in Three Post-3.11 Texts submitted by Rosaley Gai in partial fulfillment of the requirements for the degree of Master of Arts in Asian Studies Examining Committee: Sharalyn Orbaugh, Professor, Asian Studies, UBC Supervisor Christina Yi, Associate Professor, Asian Studies, UBC Supervisory Committee Member Ayaka Yoshimizu, Assistant Professor of Teaching, Asian Studies, UBC Supervisory Committee Member ii ABstract Known colloquially as “3.11,” the triple disaster that struck Japan’s northeastern region of Tōhoku on March 11, 2011 comprised of both natural (the magnitude 9.0 earthquake and resultant tsunami) and humanmade (the nuclear meltdown at the Tokyo Electric Power Company’s Fukushima Daiichi nuclear power plant incurred due to post-earthquake damage) disasters. In the days, weeks, months, and years that followed, there was an outpouring of media reacting to and reflecting on the great loss of life and resulting nuclear contamination of the nearby land and sea of the region. Thematically, food plays a large role in many post-3.11 narratives, both through the damage and recovery of local food systems after the natural disasters and the radiation contamination that to this day stigmatizes regionally grown food. -
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. -
Media Draft Appendix
Media Draft Appendix October, 2001 P C Hariharan Media Historical evidence for written records dates from about the middle of the third millennium BC. The writing is on media1 like a rock face, cave wall, clay tablets, papyrus scrolls and metallic discs. Writing, which was at first logographic, went through various stages such as ideography, polyphonic syllabary, monophonic syllabary and the very condensed alphabetic systems used by the major European languages today. The choice of the medium on which the writing was done has played a significant part in the development of writing. Thus, the Egyptians used hieroglyphic symbols for monumental and epigraphic writing, but began to adopt the slightly different hieratic form of it on papyri where it coexisted with hieroglyphics. Later, demotic was derived from hieratic for more popular uses. In writing systems based on the Greek and Roman alphabet, monumental writing made minimal use of uncials and there was often no space between words; a soft surface, and a stylus one does not have to hammer on, are conducive to cursive writing. Early scribes did not have a wide choice of media or writing instruments. Charcoal, pigments derived from mineral ores, awls and chisels have all been used on hard media. Cuneiform writing on clay tablets, and Egyptian hieroglyphic and hieratic writing on papyrus scrolls, permitted the use of a stylus made from reeds. These could be shaped and kept in writing trim by the scribe, and the knowledge and skill needed for their use was a cherished skill often as valuable as the knowledge of writing itself. -
Dual Digital Audio Tape Deck OWNER's MANUAL
» DA-302 Dual Digital Audio Tape Deck OWNER’S MANUAL D00313200A Important Safety Precautions CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALI- Ü FIED SERVICE PERSONNEL. The lightning flash with arrowhead symbol, within equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure ÿ that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the pres- ence of important operating and maintenance (servicing) instructions in the literature Ÿ accompanying the appliance. This appliance has a serial number located on the rear panel. Please record the model number and WARNING: TO PREVENT FIRE OR SHOCK serial number and retain them for your records. Model number HAZARD, DO NOT EXPOSE THIS Serial number APPLIANCE TO RAIN OR MOISTURE. For U.S.A Important (for U.K. Customers) TO THE USER DO NOT cut off the mains plug from this equip- This equipment has been tested and found to com- ment. If the plug fitted is not suitable for the power ply with the limits for a Class A digital device, pur- points in your home or the cable is too short to suant to Part 15 of the FCC Rules. These limits are reach a power point, then obtain an appropriate designed to provide reasonable protection against safety approved extension lead or consult your harmful interference when the equipment is operat- dealer. -
Magnetic Tape Storage and Handling a Guide for Libraries and Archives
Magnetic Tape Storage and Handling Guide Magnetic Tape Storage and Handling A Guide for Libraries and Archives June 1995 The Commission on Preservation and Access is a private, nonprofit organization acting on behalf of the nation’s libraries, archives, and universities to develop and encourage collaborative strategies for preserving and providing access to the accumulated human record. Additional copies are available for $10.00 from the Commission on Preservation and Access, 1400 16th St., NW, Ste. 740, Washington, DC 20036-2217. Orders must be prepaid, with checks in U.S. funds made payable to “The Commission on Preservation and Access.” This paper has been submitted to the ERIC Clearinghouse on Information Resources. The paper in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials ANSI Z39.48-1992. ISBN 1-887334-40-8 No part of this publication may be reproduced or transcribed in any form without permission of the publisher. Requests for reproduction for noncommercial purposes, including educational advancement, private study, or research will be granted. Full credit must be given to the author, the Commission on Preservation and Access, and the National Media Laboratory. Sale or use for profit of any part of this document is prohibited by law. Page i Magnetic Tape Storage and Handling Guide Magnetic Tape Storage and Handling A Guide for Libraries and Archives by Dr. John W. C. Van Bogart Principal Investigator, Media Stability Studies National Media Laboratory Published by The Commission on Preservation and Access 1400 16th Street, NW, Suite 740 Washington, DC 20036-2217 and National Media Laboratory Building 235-1N-17 St. -
Samuel Taylor Coleridge
TESIS DOCTORAL 2015 LA INFLUENCIA DE LA LITERATURA FANTÁSTICA DECIMONÓNICA EN LENGUA INGLESA EN EL ROCK’N’ROLL: Estudio y análisis de algunas “literary covers” sobre siete autores del siglo XIX POR JESÚS MARÍA MARTÍNEZ NAVAJAS LICENCIADO EN FILOLOGÍA INGLESA UNIVERSIDAD NACIONAL DE EDUCACIÓN A DISTANCIA FACULTAD DE FILOLOGÍA – MADRID Departamento de Filologías Extranjeras y sus Lingüísticas Director de la Tesis: Dr. D. Antonio BALLESTEROS GONZÁLEZ 1 - DEPARTAMENTO DE FILOLOGÍAS EXTRANJERAS Y SUS LINGÜISTICAS, FACULTAD DE FILOLOGÍA. - TÍTULO DE LA TESIS: LA INFLUENCIA DE LA LITERATURA FANTÁSTICA DECIMONÓNICA EN LENGUA INGLESA EN EL ROCK’N’ROLL: ESTUDIO Y ANÁLISIS DE ALGUNAS “LITERARY COVERS” SOBRE SIETE AUTORES DEL SIGLO XIX. - AUTOR: JESÚS MARÍA MARTÍNEZ NAVAJAS (LICENCIADO EN FILOLOGÍA INGLESA). - DIRECTOR DE TESIS: DR. D. ANTONIO BALLESTEROS GONZÁLEZ. 2 AGRADECIMIENTOS Este trabajo está dedicado muy especialmente a mis padres Teresa y Jesús, sin cuyo apoyo y respaldo no habría sido posible esta investigación, por darme todo el amor y una educación de libre pensamiento y ser el faro que guía mi desarrollo intelectual y mi existencia. AsImismo, a mis hermanos Pablo, Andrés y Paloma, y a mi compañera Giuliana por su inagotable paciencia y cariño. Gracias, familia. Vaya un agradecimiento muy especial para la Dra. Dª María del Carmen González Landa por la gran ayuda y todo lo que me ha transmitido. También quiero agradecer a Iñaki Osés y la Eguzki Irratia de Pamplona por haberme brindado la oportunidad de difundir mis conocimientos literarios y musicales a través de las ondas radiofónicas. Como no podía ser de otra manera deseo expresar mi agradecimiento al Dr. -
Digital Audio Tapes: Their Preservation and Conversion 1 Smithsonian Institution Archives Summer 2010
Digital Audio Tapes: Their Preservation and Conversion 1 Smithsonian Institution Archives Summer 2010 Digital Audio Tapes: Their Preservation and Conversion Susan Eldridge, Digital Services Intern Overview Digital Audio Tapes (DATs) are 4mm (or 3.81mm) magnetic tape cassettes that store audio information in a digital manner. DATS are visually similar to compact audio cassettes, though approximately half the size, use thinner tapes, and can only be recorded on one side. Developed by Sony in 1987, DATs were quite popular in recording studios and were one of the first digital recording systems to become employed in archives in the late 1980s and 1990s due to their lossless encoding. Commercial use of DATs, on the other hand, never achieved the same success as the machines were expensive and commercial recordings were not available on DAT. Depending on the tape and machine used, DATs allow four different sampling modes: 32 kHz at 12 bits quantization, and 32 kHz, 44.1 kHz, and 48 kHz at 16 bits.1 All support two-channel stereo recording. Some of the later DATs (before being discontinued) could extend the bit-depth to 24 and up to 98 kHz, however, these tapes were likely rarely playable on other models.2 DATs can run between 15 and 180 minutes in length, one again depending on the tape and quality of the sampling. Unlike some other digital media, DATs do not use lossy data compression, which is important in the lossless transferring of a digital source to a DAT. Sony ultimately discontinued the production of DAT machines in 2005.3 Composition A digital magnetic tape is composed of two primary layers: the base film and magnetic layer. -
Magnetic Recording: Analog Tape
Magnetic Recording: Analog Tape Until recently, there was one dominant way of recording sounds so that they could be reproduced at a later time or in a different location: analog magnetic recording (of course, there were mechanical methods like phonograph records, but they could not be recorded easily). In fact, magnetic recording techniques are still the most common way of recording signals, but the encoding method is digital. Magnetic recording relies on the imposition of a magnetic field, derived from an electrical signal, on a magnetically susceptible medium that becomes magnetized. The magnetic medium employed in analog recording is magnetic tape: a thin plastic ribbon with randomly oriented microscopic magnetic particles glued to the surface. The record head magnetic field alters the magnetic polarization (not the physical orientation) of the tiny particles so that they align their magnetic domains with the imposed field: the stronger the imposed field, the more particles align their orientations with the field, until all of the particles are magnetized. The retained pattern of magnetization stores the representation of the signal. When the magnetized medium is moved past a read head, an electrical signal is produced by induction. Unfortunately, the process is inherently very non-linear, so the resulting playback signal is different from the original signal. Much of the circuitry employed in an analog tape recorder is necessary to undo the distortion introduced by the non-linear physics of the system. Figure 1: In a record head, magnetic flux flows through low-reluctance pathway in the tape’s magnetic coating layer. Magnetic tape Magnetic tape used for audio recording consists of a plastic ribbon onto which a layer of magnetic material is glued. -
Digital Audio and Compact Disc Technology Second Edition Edited by Luc Baert, Luc Theunissen and Guido Vergult, Sony Service Centre (Europe)
Digital Audio and Compact Disc Technology Second edition Edited by Luc Baert, Luc Theunissen and Guido Vergult, Sony Service Centre (Europe) NEWNES Newnes An imprint of Butterworth-Heinemann Ltd Linacre House, Jordan Hill, Oxford OX2 8DP *1§* PART OF REED INTERNATIONAL BOOKS OXFORD LONDON BOSTON MUNICH NEW DELHI SINGAPORE SYDNEY TOKYO TORONTO WELLINGTON First published 1988 Second edition 1992 © Sony Service Centre (Europe) NV 1988, 1992 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 9HE. Applications for the copyright holder's written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data Digital Audio and Compact Disc Technology. - 2Rev. ed I. Baert, Luc 621.38932 ISBN 0 7506 0614 2 Printed and bound in Great Britain by Thomson Litho Ltd, East Kilbride, Scotland Preface The past century has witnessed a number of inventions and developments which have made music regularly accessible to more people than ever before. Not the least of these were the inventions of the conventional analog phono- graph and the development of broadcast radio. Both have undergone successive changes or improvements, from the 78 rpm disc to the 33V3 rpm disc, and from the AM system to the FM stereo system. -
Digital Audio Systems
Digital Audio Systems While analog audio produces a constantly varying voltage or current, digital audio produces a non-continuous list of numbers. The maximum size of the numbers will determine the dynamic range of the system, since the smallest signal possible will result from the lowest order bit (LSB or least significant bit) changing from 0 to 1. The D/A converter will decode this change as a small voltage shift, which will be the smallest change the system can produce. The difference between this voltage and the voltage encoded by the largest number possible (all bits 1’s) will become the dynamic range. This leads to one of the major differences between analog and digital audio: as the signal level increases, an analog system tends to produce more distortion as overload is approached. A digital system will introduce no distortion until its dynamic range is exceeded, at which point it produces prodigious distortion. As the signal becomes smaller, an analog system produces less distortion until the noise floor begins to mask the signal, at which point the signal-to-noise ratio is low, but harmonic distortion of the signal does not increase. With low amplitude signals, a digital system produces increasing distortion because there are insufficient bits available to accurately measure the small signal changes. There is a difference in the type of interference at low signal levels between analog and digital audio systems. Analog systems suffer from thermal noise generated by electronic circuitry. This noise is white noise: that is, it has equal power at every frequency. It is the “hiss” like a constant ocean roar with which we are so familiar. -
Recording Sound Effects
PRODUCING GREAT SOUND for DIGITAL VIDEO Jay Rose EXPERT SERIES San Francisco, CA • New York, NY • Lawrence, KS Published by CMP Books an imprint of CMP Media LLC Main office: 600 Harrison Street, San Francisco, CA 94107 USA Tel: 415-947-6615; fax: 415-947-6015 www.cmpbooks.com email: [email protected] Designations used by companies to distinguish their products are often claimed as trademarks. In all instances where CMP is aware of a trademark claim, the product name appears in initial capital letters, in all capital letters, or in accordance with the vendor’s capitalization preference. Readers should contact the appropriate companies for more complete information on trademarks and trademark registrations. All trademarks and registered trade- marks in this book are the property of their respective holders. Copyright © 2003 by Jay Rose, except where noted otherwise. Published by CMP Books, CMP Media LLC. All rights reserved. Printed in the United States of America. No part of this publication may be reproduced or distrib- uted in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher; with the exception that the program listings may be entered, stored, and executed in a computer system, but they may not be reproduced for publication. The publisher does not offer any warranties and does not guarantee the accuracy, adequacy, or completeness of any information herein and is not responsible for any errors or omissions. The publisher assumes no liability for damages resulting from the use of the information in this book or for any infringement of the intellectual property rights of third parties that would result from the use of this information. -
SAA Early Born Digital Formats
Early born-digital audio formats (Slide Notes) Compiled by George Blood SLIDE 1 GBA logo SLIDE 2 GBA logo audio SLIDE 3 GBA audio video SLIDE 4 SSA logo SLIDE 5 SSA presents SLIDE 6 Title Slide Early born-digital audio formats SLIDE 7 First Commercially Available Formats: PCM-1 PCM-10 PCM-F1 PCM1600/1610/1630 ...DAT As a practical matter, I'll be speaking about the last three of these early formats. Unless you work for a record label, it is highly unlikely you'll see PCM-1 or PCM-10 tapes. In 25 years I've only seen one PCM-10. (Hint, it plays like a PCM1600, but uses a PCM-F1 decoder). SLIDE 8 citation: "The Dawn of Commercial Digital Recording" ARSC Journal, Tom Fine There are earlier formats, mostly based on data recorders or custom hardware. For an excellent introduction to this Jurassic period of digital recording, see Tom Fine's article in the Spring 2008 issue of the Journal of the Association for Recorded Sound Collections. SLIDE 8b Principles of Digital Audio, Ken Pohlman As with most materials we face in preservation, it helps to understand the properties of our quarry. I'm going to do a very brief introduction to digital audio. For anyone who wishes to dig deeper, I highly recommend this book. Ken's writing his extremely clear. You can look up individual topics, or read entire chapters. It is a standard desk reference at my facility. SLIDE 9a Quantization "The process of converting analog signals to digital." syn: digitization For our purposes, in preservation, we are talking about Pulse Code Modulation: PCM.