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A Third Age of Avatars Bruce Damer, [email protected] Damer.Com | Digitalspace.Com | Ccon.Org | Biota.Org | Digibarn.Com
A Third Age of Avatars Bruce Damer, [email protected] damer.com | digitalspace.com | ccon.org | biota.org | digibarn.com Ò Started life on a PDP-11 fresh out of high school (1980), programmed graphics, videotext systems, dreamed of self replicating robots on the moon, designed board games, built model space stations. Ò Worked at IBM Research in 1984 (Toronto, New York), introduced to Internet, optical computing. Ò At Elixir Technologies 1987-94, wrote some of first GUI/Windows-Icons Publishing software on the IBM PC platform used 100 countries. Ò Established Contact Consortium in 1995, held first conferences on avatars (Earth to Avatars, Oct 1996) Ò Wrote “Avatars!”in 1997. Hosted and supported 9 conferences until 2003 on various aspects of virtual worlds (AVATARS Conferences, VLearn3D, Digital Biota) Ò Founded DigitalSpace in 1995, produced 3D worlds for government, corporate, university, and industry. Evangelism for Adobe (Atmosphere), NASA (Digital Spaces, open source 3D worlds for design simulation of space exploration) and NIH (learning games for Autism) Ò Established DigibarnComputer Museum (2002) Ò Virtual Worlds Timeline project (2006-2008) to capture and represent the history of the medium Ò The Virtual World, its Origins in Deep Time Ò Text Worlds Ò Graphical Worlds Ò Internet-Connected Worlds Ò The Avatars Cyberconferences Ò Massive Multiplayer Online RPGs Ò Virtual World Platforms Ò Virtual Worlds Timeline Project and Other Research History of Virtual Worlds The Virtual World, its Origins in Deep Time So what is a Virtual World? A place described by words or projected through pictures which creates a space in the imagination real enough that you can feel you are inside of it. -
The Foreign Service Journal, December 2007
WRITE FOR US! USAID’S “MISSION IN EXILE” REMEMBERING DICK SCISSORS SEMIANNUAL SCHOOLS SUPPLEMENT $3.50 / DECEMBER 2007 OREIGN ERVICE FJ O U R N A L S THE MAGAZINE FOR FOREIGN AFFAIRS PROFESSIONALS COUNTRY TEAMWORK Is State Still Running Embassies? OREIGN ERVICE FJ O U R N A L S CONTENTS December 2007 Volume 84, No. 12 F OCUS ON Country Team Management WHO’SINCHARGE HERE? / 20 The issue of who wields authority over American embassy personnel — notably those who don’t work for the State Department — continues to prompt interagency conflict, as it has for years. By Shawn Zeller CHIEF-OF-MISSION AUTHORITY: A POWERFUL BUT UNDERUSED TOOL / 29 The State Department should capitalize on the presidential mandate given to every COM to strengthen the country team mechanism. By Edward Peck ONE HAND CLAPPING: Cover and inside illustration THE SOUND OF STAFFING THE FOREIGN SERVICE / 33 by Jeff Moores The demands of Iraq and Afghanistan have aggravated an entrenched liability in the Foreign Service: namely, severe understaffing. By Mark Johnsen PRESIDENT’S VIEWS / 5 THE EMBASSY OF THE FUTURE / 38 Professionalism Here is a vision of the new American diplomacy, along with By John K. Naland practical steps to get there. Excerpts from a recent report. SPEAKING OUT / 15 Expeditionary Sidekicks? The Military-Diplomatic Dynamic FS FICTION By Gerald Loftus BURIED / 44 LETTER FROM A great old ceiba tree in the mountains of south-central Cuba holds THE EDITOR / 18 a revelation into the island’s history, humor and people. By Steven Alan Honley By Michael Kelly REFLECTIONS / 96 Buying Potatoes in Havana By Robert Blau F EATURES REMEMBERING USAID’S ROLE IN AFGHANISTAN, 1985-1994 / 48 LETTERS / 7 During a critical decade, USAID successfully operated an interim Afghan “mission in exile.” CYBERNOTES / 12 By Thomas H. -
Exploring the Hip-Hop Culture Experience in a British Online Community
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2010 Virtual Hood: Exploring The Hip-hop Culture Experience In A British Online Community. Natalia Cherjovsky University of Central Florida Part of the Sociology of Culture Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Cherjovsky, Natalia, "Virtual Hood: Exploring The Hip-hop Culture Experience In A British Online Community." (2010). Electronic Theses and Dissertations, 2004-2019. 4199. https://stars.library.ucf.edu/etd/4199 VIRTUAL HOOD: EXPLORING THE HIP-HOP CULTURE EXPERIENCE IN A BRITISH ONLINE COMMUNITY by NATALIA CHERJOVSKY B.S. Hunter College, 1999 M.A. Rollins College, 2003 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2010 Major Professor: Anthony Grajeda © 2010 Natalia Cherjovsky ii ABSTRACT In this fast-paced, globalized world, certain online sites represent a hybrid personal- public sphere–where like-minded people commune regardless of physical distance, time difference, or lack of synchronicity. Sites that feature chat rooms and forums can offer a deep- rooted sense of community and facilitate the forging of relationships and cultivation of ideologies. -
Download/English/Julaug05/Chiarelli.Pdf
= 5*7&9.43= 7&6.=7**)42a=97&9*,.*8`= 5574&(-*8`=*8:198`=&3)= 88:*8=+47=43,7*88= &9-*7.3*= &1*= 5*(.&1.89=.3= 39*73&9.43&1=*(:7.9>= 57.1=,`=,**3= 43,7*88.43&1= *8*&7(-=*7;.(*= 18/1**= <<<_(78_,4;= -.-21= =*5479=+47=43,7*88 Prepared for Members and Committees of Congress 5*7&9.43= 7&6.= 7**)42a=97&9*,.*8`=5574&(-*8`=*8:198`=&3)= 88:*8=+47=43,7*88= = :22&7>= Operation Iraqi Freedom (OIF), the U.S.-led coalition military operation in Iraq, was launched on March 20, 2003, with the immediate stated goal of removing Saddam Hussein’s regime and destroying its ability to use weapons of mass destruction or to make them available to terrorists. Over time, the focus of OIF shifted from regime removal to the more open-ended mission of helping the Government of Iraq (GoI) improve security, establish a system of governance, and foster economic development. In 2009, the war in Iraq appears to be winding down, as security gains made since the height of the insurgency in 2006 and 2007 continue to be sustained, and as Iraqis increasingly seek management of their own affairs. A new U.S.-Iraqi security agreement that went into effect on January 1, 2009, which confirmed the Iraqis’ responsibility for their own security, introduced a new era in OIF and in US-Iraqi bilateral relations. Secretary of Defense Robert Gates called the agreement a “watershed, a firm indication that American military involvement in Iraq is winding down.” U.S. -
Virtual Worlds: Definition, History and the Elements That Compose Them
1 Chapter 1 Virtual Worlds: Definition, History and the Elements that Compose Them David Oyarzun Vicomtech, Spain María del Puy Carretero Vicomtech, Spain Amalia Ortiz Enne, Spain Alex García-Alonso University of the Basque Country, Spain aBSTraCT This chapter presents an introductory overview of virtual worlds. Its purpose is to give the reader a basic knowledge about what a virtual world is. It also discusses some open issues that, from the author’s point of view, should be taken into account when new virtual worlds, or new applications running over exist- ing virtual worlds, are designed. The chapter provides a general definition of a virtual world, presents a historic review of these systems and describes the main features and elements that they are composed of. The chapter aims to be useful to the non-technical readers in that it shall provide a clearer concept of virtual worlds. In the case of technical readers, it attempts to be a reference for further research. BuT, WHaT IS a VIrTuaL WorLd? In this manner, we think of concepts related to them, such as multiuser capabilities, sense of Nowadays, most people when ask what is a Virtual presence, etc. World is can give a more or less clear answer. But, the truth is that an universally accepted This question prompts most to think about gen- definition of Virtual World does not exist. That is, eral purpose virtual worlds such as Second Life® there is no existing agreement about the concrete or There, or perhaps game-oriented worlds like features that compose a virtual world and, and World of Warcraft. -
Media Data 2021
MEDIA DATA 2021 Billboard | Poster (Digital) Out-of-Home – Where Life Happens ...and right where people are out and about. With around 300,000 advertising spaces and therefore a constant visual presence in the cityscape, we are one of Germany's leading out-of-home advertising companies and offer outstanding reach maximisation in the shortest possible time. Our OOH portfolio includes all media in public spaces – from classic posters to exclusive advertising rights at railway stations and gigantic posters created by blowUp media. Our digital products, including screens at railway stations, in shopping centres, on busy streets and in pedestrian zones, are also attention-grabbing advertising options. Are you looking for the ideal medium for communicating your campaign out-of-home? We are bound to have the right format for each of your advertising objectives. Please refer to our media data for a concise and comprehensive summary of the most important information, locations and prices of our out-of-home advertising at a glance. Find out all about... Photo: AdobeStock_179255326©Mirko. 2 Billboard | Poster The Local Communicator With their omnipresence in almost all medium-sized and major cities, Billboards ensure an evenly- distributed presence throughout the cityscape and generate a high number of target group contacts in the area booked. The selection of individual locations on streets, by stations or at the point of sale permits a flexible use for individual media objectives, specific target groups or also limited budgets. Particularly the illuminated locations are strikingly visible even at the darker time of the year and in the evening. 4 Three Strong Arguments for Billboard . -
Heymann a Name I Call Myself
UCILR V2I2 Assembled v4 (Do Not Delete) 7/14/2012 2:14 PM A Name I Call Myself: Creativity and Naming Laura A. Heymann* In recent years, various disputes involving the use of creative works have demonstrated how trademark-related concerns lurk at the heart of what are ostensibly copyright-related claims. When recording artists such as Jackson Browne or the members of Heart object to the unauthorized use of their songs in connection with a political campaign, they are most likely not troubled about the loss of revenue resulting from the use; rather, they are likely concerned that the public will wrongly assume that the use of the song indicates that they have endorsed the political candidate. But because it is sometimes easier for them to bring a successful copyright claim than a false endorsement claim, we risk an overbroad result: an injunction against the use of the work altogether, despite its expressive benefits, rather than a narrower injunction requiring a disclaimer or similar information- correcting device. Naming practices can, on occasion, illustrate the reverse trademark/copyright divide: disputes that more naturally fit a trademark- related framework but that actually embody copyright-related concerns. For example, innumerable advice columns have featured some variation of the following question: “We chose a lovely, original name for our soon-to-be born baby and told my sister-in-law about it. Now she has named her child, born last week, the exact same name. I can’t believe she stole our baby name. Should I ever speak to her again?” Although naming is typically seen as trademark-related, part (or all) of what causes this anguish is a copyright-related concern: the creativity that went into choosing, finding, or inventing the name and, relatedly, a desire to be recognized for that creativity. -
7 Multi-Player Online Role-Playing Games
7 Multi-Player Online Role-Playing Games Mark Chen; Riley Leary; Jon Peterson; David Simkins This chapter describes multiplayer online role-playing games (MORPGs) where players participate through networked connections to collectively build a narrative or experience with a game that persists independent of who is logged in. We discuss two main traditions of these games (see Chapter 8 for an emerging tradition): 1. Multi-User Dungeons (MUDs), and 2. Massively Multiplayer Online Role-Playing Games (MMORPGs). MUDs and MMORPGs generally allow for a “massive” amount of players—sometimes hundreds, thousands, or tens of thousands of players who simultaneously engage in the same game. Most MUDs and MMORPGs feature worlds where players log in at any time to visit, providing players with a persistent world independent of who is logged in. A variety of agents are at play shaping the multiplayer online RPG form. Creators have introduced novel game systems or narratives while dealing with the affordances of what everyone agrees is an RPG, but creators are also constrained by the technologies of their time rather than inherent limitations in RPGs. There also exists a parallel history in non-digital RPGs and computer role-playing games (CRPGs) that influence the online games. Thus the evolution of MORPGs is not channeled through just one tradition. Thankfully, first-hand accounts of the history of the multiplayer online RPG industry (Bartle, 2010) and first-hand accounts of design and management decisions for specific games (e.g. Morningstar & Farmer, 1991; Curtis, 1996; Mulligan & Patrovsky, 2003) exist. One thing these accounts lack is scrutiny from scholars across multiple disciplines, studying specific player phenomena in online gaming, so this chapter complements the historical timeline with notable scholarly research on player behavior and community engagement. -
Games of Empire Electronic Mediations Katherine Hayles, Mark Poster, and Samuel Weber, Series Editors
Games of Empire Electronic Mediations Katherine Hayles, Mark Poster, and Samuel Weber, Series Editors 29 Games of Empire: Global Capitalism and Video Games Nick Dyer- Witheford and Greig de Peuter 28 Tactical Media Rita Raley 27 Reticulations: Jean-Luc Nancy and the Networks of the Political Philip Armstrong 26 Digital Baroque: New Media Art and Cinematic Folds Timothy Murray 25 Ex- foliations: Reading Machines and the Upgrade Path Terry Harpold 24 Digitize This Book! The Politics of New Media, or Why We Need Open Access Now Gary Hall 23 Digitizing Race: Visual Cultures of the Internet Lisa Nakamura 22 Small Tech: The Culture of Digital Tools Byron Hawk, David M. Rieder, and Ollie Oviedo, Editors 21 The Exploit: A Theory of Networks Alexander R. Galloway and Eugene Thacker 20 Database Aesthetics: Art in the Age of Information Overfl ow Victoria Vesna, Editor 19 Cyberspaces of Everyday Life Mark Nunes 18 Gaming: Essays on Algorithmic Culture Alexander R. Galloway 17 Avatars of Story Marie-Laure Ryan 16 Wireless Writing in the Age of Marconi Timothy C. Campbell 15 Electronic Monuments Gregory L. Ulmer 14 Lara Croft: Cyber Heroine Astrid Deuber- Mankowsky 13 The Souls of Cyberfolk: Posthumanism as Vernacular Theory Thomas Foster 12 Déjà Vu: Aberrations of Cultural Memory Peter Krapp 11 Biomedia Eugene Thacker 10 Avatar Bodies: A Tantra for Posthumanism Ann Weinstone 9 Connected, or What It Means to Live in the Network Society Steven Shaviro 8 Cognitive Fictions Joseph Tabbi 7 Cybering Democracy: Public Space and the Internet Diana Saco 6 Writings Vilém Flusser 5 Bodies in Technology Don Ihde 4 Cyberculture Pierre Lévy 3 What’s the Matter with the Internet? Mark Poster 2 High Techne¯: Art and Technology from the Machine Aesthetic to the Posthuman R. -
Download the Full Independent Evaluation of C&A Foundation
Independent Evaluation of C&A Foundation Programme and Operational Effectiveness (2014/15-2019/20) Volume 1 – Report November 2020 Contents CONTENTS .............................................................................................................................................. I ACRONYMS ........................................................................................................................................... V GLOSSARY .......................................................................................................................................... VI ACKNOWLEDGEMENTS .................................................................................................................... VII SUMMARY ............................................................................................................................................ IX 1 AMBITION TO TRANSFORM .................................................................................................... 1 1.1 Hidden costs of the fashion industry ................................................................................................. 1 1.2 Growing momentum for transformation ............................................................................................. 2 1.3 Evaluation approach .......................................................................................................................... 3 2 C&A FOUNDATION STRATEGY AND ALIGNMENT WITH C&A BUSINESS .......................... 5 2.1 Designed for transformation ............................................................................................................. -
Popielinski, M.A
Noncorporeal Embodiment and Gendered Virtual Identity Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Lea Marie Popielinski, M.A. Graduate Program in Women’s Studies The Ohio State University 2012 Dissertation Committee: Cathy A. Rakowski, Advisor Cynthia Selfe Mary Thomas Copyright by Lea Marie Popielinski 2012 Abstract This dissertation introduces the concept of noncorporeal embodiment as an analytical tool for understanding the experience of having a body in three-dimensional graphical virtual space, i.e., a representational avatar body. I propose that users of virtual worlds such as Second Life develop a sense of embodiment that is comparable but not identical to a sense of embodiment in the actual world. The dissertation explores three key areas—the development of a virtual identity, the practice of virtual sexuality, and the experience of virtual violence—to locate evidence that Second Life residents identify with their avatars in ways that reflect the concept as it is developed in the text. Methods include interviews with Second Life residents, a blog that presents questions for public response, and the use of resident-produced written materials (e.g., blogs, forum discussions, classifed ads), while theoretical perspectives are drawn from feminist theorists concerned with studies of the body in various respects. The dissertation concludes with a summation of the social patterns observed in the previous chapters and with a discussion of future directions for further research. ii Acknowledgments The completion of this dissertation was long in coming, and it would never have arrived without the guidance, support, and participation of a number of individuals who did not give up on me and would not let me give up on myself throughout the process. -
Virtual World Primer
A Virtual Worlds Primer Executive Summary This report provides an overview of virtual worlds – what they are, what they are used for and who uses them. Virtual worlds are simulated environments on the internet, accessed via a computer and sometimes mobile phone. They are persistent, shared experiences for tens of millions of people around the globe. There are three basic kinds of virtual world: games, social worlds and world building tools. While the technology for all three types is similar, each has a different range of uses and different user demographics. People of all ages around the world use virtual worlds. Some are targeted at specific age ranges, such as Club Penguin which is 6+ and Second Life which is 18+. However, World of Warcraft and other virtual worlds appeal to people from their mid-teens through to retirement. From their invention in 1978 at the University of Essex, virtual worlds have grown steadily in popularity. Globally, the number of users of virtual worlds is now in the hundreds of millions, with several individual virtual worlds reporting figures over the 10 million mark. And these users are spending between two and four hours in a virtual world every day, often sacrificing television viewing time to do so. Business models for virtual worlds include: subscription fees, micro-transactions, and advertising supported worlds - including fully branded spaces such as Virtual MTV (vMTV). Within game worlds, complex economies thrive on the redistribution of virtual resources by individual users. Social worlds in particular find the users embedding traditional business models into the virtual world by offering goods and services such as marketing and design of virtual objects for real currency.