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The 26Th Society for Animation Studies Annual Conference Toronto
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence The Animator Conferences & Events 6-16-2014 The Animator: The 26th oS ciety for Animation Studies Annual Conference Toronto June 16 to 19, 2014 Society for Animation Studies Paul Ward Society for Animation Studies Tony Tarantini Sheridan College, [email protected] Follow this and additional works at: http://source.sheridancollege.ca/conferences_anim Part of the Film and Media Studies Commons SOURCE Citation Society for Animation Studies; Ward, Paul; and Tarantini, Tony, "The Animator: The 26th ocS iety for Animation Studies Annual Conference Toronto June 16 to 19, 2014" (2014). The Animator. 1. http://source.sheridancollege.ca/conferences_anim/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the Conferences & Events at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in The Animator by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. THANK YOU TO OUR SPONSORS THE ANIMATOR THEThe 26th Society forANIMATOR Animation Studies Annual Conference TheToronto 26 Juneth Society 16 to 19, 2014 for www.theAnimation animator2014.com Studies @AnimatorSAS2014 Annual Conference Toronto June 16 to 19, 2014 • www.the animator2014.com • @AnimatorSAS2014 WELCOME Message from the President Animation is both an art and skill; it is a talent that is envied the world over. Having a hand in educating and nurturing some of the finest animators in the world is something for which Sheridan is exceptionally proud. -
Somnambulist Press Release
Bio information: THE KANDINSKY EFFECT Title: SOMNAMBULIST (Cuneiform Rune 408) Format: CD / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: JAZZ / POST-JAZZ Weaving Jazz & Post-Rock, Soundscapes & Electronica Into Tunes that Transcend Genre, Place, and Time Globetrotting Trio, The Kandinsky Effect, Create Somnambulist, A Sonic Journey through 21st Century Jazz Dreamtime On Somnambulist, The Kandinsky Effect wields its musical power in a welcoming way. Their 3rd album (and 2nd for Cuneiform Records) isn't form-eschewing free jazz, nor are the tonalities the trio employs particularly "out." The real revelation – and revolution – comes simply in the way saxophonist Warren Walker, bassist Gael Petrina, and drummer Caleb Dolister organize sound. The Paris-and-New York-based trio is a purist's nightmare -- and not only that of a jazz purist either. Since their first, self-titled album came out in 2010, The Kandinsky Effect has been boldly blending jazz with elements of everything from hip-hop to electronic music, making for an idiosyncratic amalgam that never goes exactly where you might expect it to. If you can envision a world in which a contemporary jazz giant like Joshua Redman jams with The Roots and electronic instigator Aphex Twin, then you have a head start on your ability to assimilate the sound of Somnambulist. But nothing can completely prepare you for its marriage of groove, atmosphere, and incendiary playing. The Kandinsky Effect feel that this album is their most effectively conceived collection of music to date. -
12-09 Traffic
Torino Cinema Massimo Mouse on Mars Venerdì 12.IX.08 ore 22 SPAZIO 211 Bonnie “Prince” Billy Venerdì 19.IX.08 ore 23 Hiroshima mon Amour Liars Giovedì 25.IX.08 ore 23 venerdì 12 settembre 2008 ore 22 Cinema Massimo – Sala 1 Mouse On Mars vs Schatten Proiezione del film Schatten di Arthur Robinson Germania, 1923, 84’ Mouse On Mars Jan St. Werner, elettronica Andi Toma, elettronica e percussioni n suono elettronico raffinato e complesso, risultante dalla convergenza fra diver- Usi vettori stilistici. Se infatti Jan St. Werner e Andi Toma, nel 1993 fondatori dei Mouse On Mars sull’asse Düsseldorf/Colonia, appartengono in senso anagrafico e bio- grafico alla generazione cresciuta con la techno da rave, d’altra parte li si può anno- verare fra gli epigoni della scuola tedesca – Kraftwerk, Can, Neu!, Cluster – afferma- tasi negli anni Settanta e inscritta per convenzione nell’alveo del cosiddetto Krau- trock. A quei due elementi di base via via ne sono stati addizionati altri che hanno contribuito a definirne l’identità: dalle sonorità ambient tipiche dei primi lavori (Vul- valand e Iaora Tahiti, datati rispettivamente 1994 e 1995) all’incorporazione di stru- mentazioni “rock” – chitarra e batteria – in Niun Niggung (2000), fino all’adesione ai canoni della forma canzone – con l’introduzione del canto, affidato al batterista Dodo Nkishi – testimoniata da Idiology (2001) e Radical Connector (2004). Un percorso discografico zigzagante, segnato nondimeno da un denominatore comune riconduci- bile alla rigorosa coerenza espressiva di Toma e St. Werner, ribadita dalle ultime prove sostenute: l’angoloso album realizzato per la Ipecac di Mike Patton, Varcharz (2006), e l’estemporanea partnership con il guru del post punk britannico Mark E. -
97-121297.Compressed.Pdf
Ml.KINSaNU tGttNlC1S ••••• "ill, hm><1r1lXl;II; !I"Y~!l!!ht ,~WII>\1<l<\S;IQO', 1'Jw .I'l\tO~l ~ ~l!.~ ~~It'l>~h""I~', \"0011 ~~t ,,~~ fiQO" !I"Ys ,I> lac~I~S;) y~I c~"~ th~ "lei, who 4'~ rI!1.h'lilt y<l<I, h \ really <!'~. Att~nb~ a d4~ Qt ,\$A; e><OI'I>!1.Mal>-I€»-Man HY~<;onntt'- .~>S 10 get 10 kl>ow eoch other right aw'~y,O~t the phone, No OOttab- No loud mllsie. \,~,'~ at \~u'lI ralk with more gu),s on one call then you did all lasr month. l'It~ I~liSw 3014 THROCKMORTON, DALLAS, TEXAS (214) 559-0650 [email protected] l$ Q ; ----------~-,!!!!!!!J GOT TALENT? VOLUME 23, NUMBER 41 DECEMBER 12 - 18, 1997 16 LOOKING BACK Gay USA, 1952: Fairies at Neiman-Marcus? Part 2 by Phil Johnson 20 MOVIES Amistad Tells Compelling Tale of A Slave Rebellion Reviewed by Mark Deaton 29 BACKSTAGE The Women's Chorus of Dallas Kicks Off Its Ninth Season with "Visions of Sugarplums" 37 CURRENT EVENTS 41 STARSCOPE Mercury Retrogrades, Giving Us Free Rein for the Next Two Weeks 51 TEXAS SPORTS 52 TEXAS NEWS SHOW 56 ON OUR COVER Jason Virachack of Dallas photos by Jerry Stevens 58 FRESH BEATS DJ Krush, The Porn Kings and Jennifer Bolton by Jimmy Smith 60 TEXAS TEA 70 CLASSIFIEDS " 77 GUIDE 1WT (This Week In Texas) Is published by Texas Weekly Times Newspaper Co., at 3300 Reagan Street in Dallas, Texas 75219 and 811 Westhelmer In Houston, Texas 77r:JJ6.Opinions expressed by columnists are not necessarily those of TWTor of its staff. -
Physicality of the Analogue by Duncan Robinson BFA(Hons)
Physicality of the Analogue by Duncan Robinson BFA(Hons) Submitted in the fulfilment of the requirements for the degree of Master of Fine Arts. 2 Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Duncan Robinson 3 Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Duncan Robinson 4 Abstract: Inside the video player, spools spin, sensors read and heads rotate, generating an analogue signal from the videotape running through the system to the monitor. Within this electro mechanical space there is opportunity for intervention. Its accessibility allows direct manipulation to take place, creating imagery on the tape as pre-recorded signal of black burst1 without sound rolls through its mechanisms. The actual physical contact, manipulation of the tape, the moving mechanisms and the resulting images are the essence of the variable electrical space within which the analogue video signal is generated. In a way similar to the methods of the Musique Concrete pioneers, or EISENSTEIN's refinement of montage, I have explored the physical possibilities of machine intervention. I am working with what could be considered the last traces of analogue - audiotape was superseded by the compact disc and the videotape shall eventually be replaced by 2 digital video • For me, analogue is the space inside the video player. -
1 the Versions Project: Exploring
THE VERSIONS PROJECT: EXPLORING MASHUP CULTURE By FRANCESCA LYN SUPERVISORY COMMITTEE: Benjamin DeVane, CHAIR Melinda McAdams, MEMBER James Oliverio, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF 1 MASTER OF ARTS UNIVERSITY OF FLORIDA 2011 2 ©2011 Francesca Lyn To everyone who has encouraged me to never give up, this would have never happened without all of you. 3 ACKNOWLEDGMENTS It is a pleasure to thank the many people who made this thesis possible. Thank you to my thesis chair Professor Ben DeVane and to my committee. I know that I was lucky enough to be guided by experts in their fields and I am extremely grateful for all of the assistance. I am grateful for every mashup artist that filled out a survey or simply retweeted a link. Special thanks goes to Kris Davis, the architect of idealMashup who encouraged me to become more of an activist with my work. And thank you to my parents and all of my friends. 4 TABLE OF CONTENTS page ACKNOWLEDGEMENTS……………………………………………………………………….4 ABSTRACT……..………………………………………………………………………………...6 INTRODUCTION..……………………………………………………………………………….7 Remix Culture and Broader Forms………………………………………………………………..9 EARLY ANTECEDENTS………………………………………………………………………10 Hip-hop…………………………………………………………………………………………..11 THE MODERN MASHUP ERA………………………………………………………………..13 NEW MEDIA ARTIFACTS…………………………………………………………………….14 The Hyperreal……………………………………………………………………………………15 Properties of New Media………………………………………………………………………...17 Community……………………………………………………………………………...…18 -
My Bloody Valentine's Loveless David R
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 My Bloody Valentine's Loveless David R. Fisher Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MY BLOODY VALENTINE’S LOVELESS By David R. Fisher A thesis submitted to the College of Music In partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the thesis of David Fisher on March 29, 2006. ______________________________ Charles E. Brewer Professor Directing Thesis ______________________________ Frank Gunderson Committee Member ______________________________ Evan Jones Outside Committee M ember The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables......................................................................................................................iv Abstract................................................................................................................................v 1. THE ORIGINS OF THE SHOEGAZER.........................................................................1 2. A BIOGRAPHICAL ACCOUNT OF MY BLOODY VALENTINE.………..………17 3. AN ANALYSIS OF MY BLOODY VALENTINE’S LOVELESS...............................28 4. LOVELESS AND ITS LEGACY...................................................................................50 BIBLIOGRAPHY..............................................................................................................63 -
Plunderphonics – Plagiarismus in Der Musik
Plagiat und Fälschung in der Kunst 1 PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK PLUNDERPHONICS – PLAGIARISMUS IN DER MUSIK Durch die Erfindung der Notenschrift wurde Musik versprachlicht und damit deren Beschreibung mittelbar. Tonträger erlaubten es, Interpretationen, also Deutungen dieser sprachlichen Beschreibung festzuhalten und zu reproduzieren. Mit der zunehmenden Digitalisierung der Informationen und somit der Musik eröffneten sich im 20. Jahrhundert neue Möglichkeiten sowohl der Schaffung als auch des Konsums der Musik. Eine Ausprägung dieses neuen Schaffens bildet Plunderphonics, ein Genre das von der Reproduktion etablierter Musikstücke lebt. Diese Arbeit soll einen groben Überblick über das Genre, deren Ursprünge und Entwicklung sowie einigen Werken und thematisch angrenzenden Musik‐ und Kunstformen bieten. Es werden rechtliche Aspekte angeschnitten und der Versuch einer kulturphilosophischen Deutung unternommen. 1.) Plunderphonics und Soundcollage – Begriffe und Entstehung Der Begriff Plunderphonics wurde vom kanadischen Medienkünstler und Komponisten John Oswald geprägt und 1985 in einem bei der Wired Society Electro‐Acoustic Conference in Toronto vorgetragenen Essay zuerst verwendet [1]. Aus musikalischer Sicht stellt Plunderphonics hierbei eine aus Fragmenten von Werken anderer Künstler erstellte Soundcollage dar. Die Fragmente werden verfälscht, beispielsweise in veränderter Geschwindigkeit abgespielt und neu arrangiert. Hierbei entsteht ein Musikstück, deren Bausteine zwar Rückschlüsse auf das „Ursprungswerk“ erlauben, dessen Aussage aber dem „Original“ zuwiderläuft. Die Verwendung musikalischer Fragmente ist keine Errungenschaft Oswalds. Viele Musikstile bedienen sich der Wiederaufnahme bestehender Werke: Samples in populär‐ und elektronischer Musik, Riddims im Reggae, Mash‐Ups und Turntablism in der Hip‐Hop‐Kultur. Soundcollagen, also Musikstücke, die vermehrt Fragmente verwenden, waren mit dem Fortschritt in der Tontechnik möglich geworden und hielten Einzug in den Mainstream [HB2]. -
Helter Skelter” and Sixties Revisionism “Helter Skelter” Et L'héritage Polémique Des Années 1960
Volume ! La revue des musiques populaires 9 : 2 | 2012 Contre-cultures n°2 “Helter Skelter” and Sixties Revisionism “Helter Skelter” et l'héritage polémique des années 1960 Gerald Carlin and Mark Jones Electronic version URL: http://journals.openedition.org/volume/3407 DOI: 10.4000/volume.3407 ISSN: 1950-568X Printed version Date of publication: 15 December 2012 Number of pages: 34-49 ISBN: 978-2-913169-33-3 ISSN: 1634-5495 Electronic reference Gerald Carlin and Mark Jones, « “Helter Skelter” and Sixties Revisionism », Volume ! [Online], 9 : 2 | 2012, Online since 15 June 2014, connection on 10 December 2020. URL : http:// journals.openedition.org/volume/3407 ; DOI : https://doi.org/10.4000/volume.3407 This text was automatically generated on 10 December 2020. L'auteur & les Éd. Mélanie Seteun “Helter Skelter” and Sixties Revisionism 1 “Helter Skelter” and Sixties Revisionism “Helter Skelter” et l'héritage polémique des années 1960 Gerald Carlin and Mark Jones EDITOR'S NOTE This text was published in Countercultures & Popular Music (Farnham, Ashgate, 2014), while its French translation appeared in this issue of Volume! in 2012. “Helter Skelter” and the End of the Sixties Volume !, 9 : 2 | 2012 “Helter Skelter” and Sixties Revisionism 2 1 In late August 1968, within a few days of each other, new singles were released by the Beatles and the Rolling Stones. The unusual proximity of release dates by the world’s two most significant rock bands was echoed by the congruity of the songs’ themes: the Stones’ “Street Fighting Man” and the Beatles’ “Revolution” were both responses to the political unrest and protest which characterised the spring and summer of 1968. -
A Method to Recognize Universal Patterns in Genome Structure Using Hi-C
A method to recognize universal patterns in genome structure using Hi-C Author Neil Chowdhury (Phillips Exeter Academy, New Hampshire, USA) Mentor Sameer Abraham (Massachusetts Institute of Technology, Massachusetts, USA) A method to recognize universal patterns in genome structure using Hi-C Abstract The expression of genes in cells is a complicated process. Expression levels of a gene are determined not only by its local neighborhood but also by more distal regions, as is the case with enhancer-promoter interactions, which can connect regions millions of bases away [1]. The large-scale organization of DNA within the cell nucleus plays a substantial role in gene expression and cell fate, with recent developments in biochemical assays (such as Hi-C) generating quantitative maps of the higher-order structure of DNA. The interactions captured by Hi-C have been attributed to several distinct physical processes. One of the processes is that of segregation of DNA into compartmental domains by phase separation. While the current consensus is that there are broadly two types of compartmental domains (A and B), there is some evidence for a larger number of compartmental domains [2]. Here a methodology to determine the identity and number of such compartments is presented, and it is observed that there are four distinct compartments within the genome. Keywords: Hi-C, Clustering, Compartmentalization, Dimensionality Reduction, Stability, ChIP- seq, Repli-seq Contents Introduction .................................................................................................................................3 -
Perfect Setting, Distinctive Performances Portlands’ Pickathon MUSIC FESTIVAL
Music.Gear.Style. No.73 August 2015 Perfect Setting, Distinctive Performances Portlands’ Pickathon MUSIC FESTIVAL SPIN THE BLACK CIRCLE: New Albums from Low, Destroyer, The Arcs, Lianne La Havas, Dave Douglas, Robert Glasper, Stephen Micus, and More INTERVENTION RECORDS: A New Audiophile Reissue Label Strives to be Different THE AUDIOPHILE APARTMENT: Sound for Small Spaces l Analog Diversity from Monk Audio GamuT Combines Power and Finesse With Their M250i monoblocks l Digital Excellence From Gryphon, The Ultimate Silence from IsoTek, and more! WCT_TONE_Dec2014.indd 1 6/10/15 3:31 PM WE’VE DESIGNED THE PERFECT RECEIVER. MRX 710 / MRX 510 / MRX 310 NOW WE’LL PERFECT YOUR ROOM. AWARD-WINNING A/V RECEIVERS The most direct, economical route to outstanding music and home theater. Multiple channels of clean power, superb amplification with Advanced Load Monitoring for unrestrained dynamics. Even with the finest equipment and speakers perfectly positioned, the room can have a negative impact on sound quality. Dimensions, dead spots, archways, even furniture can turn it into an additional instrument adding unwanted coloration and resonances to sound. In minutes, ARC 1M adjusts for these effects so that the award-winning sound of the MRX isn’t lost in a less than perfect room. Now your Anthem gear can do what it does best: allow you to lose yourself in the music or movie. INCLUDES ANTHEM ROOM CORRECTION SYSTEM anthemAV.com 46 74 features tone style 11. PUBLISHER’S LETTER Old School: The Wino: 12. TONE TOON BeoCenter 9500 14 74 Cabernet 4 Ways -
Hasseltkunstencentrum Burg . Bo
V.U. JO LIJNEN, Burg. Bollenstraat 54, 3500 Hasselt BELGIE-BELGIQUE P . B . 3500.HASSELT.1 1 2 / 7 4 1 BELGIE BELGIE 3500-HASSELTBURG.BOLLENSTR.54KUNSTENCENTRUM 3500-HASSELTBURG.BOLLENSTR.54KUNSTENCENTRUM A Secret in The Shape Of A Song A The ShapeOf in Secret A vr 16 & za 17 april 2010 + Special guests MICK HARVEY, STEFKAMIL CARLENSandmore! vr 16&za17april2010+SpecialguestsMICKHARVEY, NEW RELEASES / 19’ jaargang / 5X per jaar: jan-maart-mei-juli-okt / editie: jan 2010 Afgiftekantoor: 3500 Hasselt 1 - P 206555 O (US / 2009 / 35 mm / 101’) Cast Max Records, Pepita Emmerichs, James Gandolfini (stem), Forest Whitaker (stem), Paul Dano (stem), Catherine O’Har (stem), Regie > Spike Jonze Max Pfeifer, Madeleine Greaves, Joshua Jay, Ryan Corr e.a. Meer nachtmerie dan droom. Muziek Karen O (Yeah Yeah Yeahs) Een verjaardagsfeest van angst en pijn. & Carter Burwell (No Country For Old Men, A Serious Man...) Een open wonde van gekwetste zielen. (Veto) Where the Wild Things Are vertelt het verhaal van de 8-jarige Max (Max Records), een onstuimige en gevoelige belhamel die zich thuis niet begrepen voelt en ontsnapt... naar daar waar de wilde wezens leven! Max belandt op een eiland waar hij brutale, mysterieuze monsters ontmoet. Hun emoties zijn net zo grillig en onvoorspelbaar als hun acties. De fabelach- tige wezens verlangen wanhopig naar een leider. Wanneer Max met een portie bluf tot hun koning wordt gekroond, belooft hij een rijk te creëren waar iedereen gelukkig kan zijn. Max komt er echter al gauw achter dat het niet zo eenvoudig is om koning te zijn. Zijn relaties blijken ingewikkel- der in elkaar te zitten dan hij had gedacht...