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Add Second Life to Your Training Without Having Users Log Into Second Life
708 Add Second Life to your Training without Having Users Log into Second Life David Miller, Newmarket International www.eLearningGuild.com DevLearn08 Session 708 Reference This session follows a case study in which a text-based lesson is converted into a more immersive learning experience. Starting with a “text and image” lesson written by a subject matter expert, we will write an easy-to-follow script that will help us create inexpensive video footage using Second Life. This video footage will then be integrated with the lesson to create a richer learning experience. All materials will be available online at http://subquark.com and access to a DevLearn08 dedicated sim will be provided to all attendees. To access that land, join the ELearning Guild in Second Life group “in-world”. Principles and Tools: Two underlying principles guide the approach presented in this session: rapid development and low cost. Filming in Second Life, and within any computer-generated imagery (CGI), is known as machinima. This session introduces several tools specific to filming in Second Life in case you are interested in experimenting with them before attending the session. These tools include Filming Path, Fraps, and Sizer. The Second Life viewer is needed to access the virtual world that we will be using as a film studio for creating footage to incorporate into our eLearning. Filming Path is an “in-world” filming system that helps to create smooth camera pans and camera dolly shots. Fraps is a real-time video-capturing application for Windows. Other Mac-based programs accomplish similar results (see the Fraps section). -
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¢¡¤£¦¥ ¢¡¤£¦¥ ¢¡¤£¦¥ Subscription Agreement ¢¡¤£¦¥ ! PLEASE READ THIS AGREEMENT CAREFULLY BEFORE Red Hat §©¨ / PURCHASING OR USING RED HAT PRODUCTS AND "# $% &' ()*+ §©¨ ,- . Red Hat / # # SERVICES. BY USING OR PURCHASING RED HAT # 2©3 456 7 80 9: /.10 PRODUCTS OR SERVICES, CLIENT SIGNIFIES ITS ASSENT ;< 2=©>0 ?@ 'A BC© DE F©G ?1 . TO THIS AGREEMENT. IF YOU ARE ACTING ON BEHALF HI BC© D©: J !K CLM NO1 (P4 Q1RK HI OF AN ENTITY, THEN YOU REPRESENT THAT YOU HAVE STU >0 VWK XY Z1K F©G THE AUTHORITY TO ENTER INTO THIS AGREEMENT ON . 456 , §©¨ ,- M X [!\>0 BEHALF OF THAT ENTITY. IF CLIENT DOES NOT ACCEPT 45©3 Red Hat / THE TERMS OF THIS AGREEMENT, THEN IT MUST NOT PURCHASE OR USE RED HAT PRODUCTS AND SERVICES. @ = ©] ^ _`a b c d e e f gf g 3 e f gf g This Subscription Agreement, including all schedules and e (“ ”) Red Hat Limited hi appendices hereto (the "Agreement"), is between Red Hat # Y j § VWK X k (“Red Hat”) ] Red Hat Limited, Korea Branch ("Red Hat") and the purchaser or user of # §©¨ ©9 9 l ml m n CLo0 l m / (“ l m ”) . Red Hat products and services that accepts the terms of this # pq/r stvustvu 3 456 w,- stvustvu (“ ”) h h Agreement (“Client”). The effective date of this Agreement # !K X k r!9x 456 §©¨ Red Hat / (“Effective Date”) is the earlier of the date that Client signs or h 0 y z{ + |} accepts this Agreement or the date that Client uses Red Hat's r!9 . products or services. -
Retrocomputing As Preservation and Remix
Retrocomputing as Preservation and Remix Yuri Takhteyev Quinn DuPont University of Toronto University of Toronto [email protected] [email protected] Abstract This paper looks at the world of retrocomputing, a constellation of largely non-professional practices involving old computing technology. Retrocomputing includes many activities that can be seen as constituting “preservation.” At the same time, it is often transformative, producing assemblages that “remix” fragments from the past with newer elements or joining together historic components that were never combined before. While such “remix” may seem to undermine preservation, it allows for fragments of computing history to be reintegrated into a living, ongoing practice, contributing to preservation in a broader sense. The seemingly unorganized nature of retrocomputing assemblages also provides space for alternative “situated knowledges” and histories of computing, which can sometimes be quite sophisticated. Recognizing such alternative epistemologies paves the way for alternative approaches to preservation. Keywords: retrocomputing, software preservation, remix Recovering #popsource In late March of 2012 Jordan Mechner received a shipment from his father, a box full of old floppies. Among them was a 3.5 inch disk labelled: “Prince of Persia / Source Code (Apple) / ©1989 Jordan Mechner (Original).” Mechner’s announcement of this find on his blog the next day took the world of nerds by storm.1 Prince of Persia, a game that Mechner single-handedly developed in the late 1980s, revolutionized computer games when it came out due to its surprisingly realistic representation of human movement. After being ported to DOS and Apple’s Mac OS in the early 1990s the game sold 2 million copies (Pham, 2001). -
Unravel Data Systems Version 4.5
UNRAVEL DATA SYSTEMS VERSION 4.5 Component name Component version name License names jQuery 1.8.2 MIT License Apache Tomcat 5.5.23 Apache License 2.0 Tachyon Project POM 0.8.2 Apache License 2.0 Apache Directory LDAP API Model 1.0.0-M20 Apache License 2.0 apache/incubator-heron 0.16.5.1 Apache License 2.0 Maven Plugin API 3.0.4 Apache License 2.0 ApacheDS Authentication Interceptor 2.0.0-M15 Apache License 2.0 Apache Directory LDAP API Extras ACI 1.0.0-M20 Apache License 2.0 Apache HttpComponents Core 4.3.3 Apache License 2.0 Spark Project Tags 2.0.0-preview Apache License 2.0 Curator Testing 3.3.0 Apache License 2.0 Apache HttpComponents Core 4.4.5 Apache License 2.0 Apache Commons Daemon 1.0.15 Apache License 2.0 classworlds 2.4 Apache License 2.0 abego TreeLayout Core 1.0.1 BSD 3-clause "New" or "Revised" License jackson-core 2.8.6 Apache License 2.0 Lucene Join 6.6.1 Apache License 2.0 Apache Commons CLI 1.3-cloudera-pre-r1439998 Apache License 2.0 hive-apache 0.5 Apache License 2.0 scala-parser-combinators 1.0.4 BSD 3-clause "New" or "Revised" License com.springsource.javax.xml.bind 2.1.7 Common Development and Distribution License 1.0 SnakeYAML 1.15 Apache License 2.0 JUnit 4.12 Common Public License 1.0 ApacheDS Protocol Kerberos 2.0.0-M12 Apache License 2.0 Apache Groovy 2.4.6 Apache License 2.0 JGraphT - Core 1.2.0 (GNU Lesser General Public License v2.1 or later AND Eclipse Public License 1.0) chill-java 0.5.0 Apache License 2.0 Apache Commons Logging 1.2 Apache License 2.0 OpenCensus 0.12.3 Apache License 2.0 ApacheDS Protocol -
Download Sonic
Download sonic click here to download How far can the world's fastest hedgehog run? Play as Sonic the Hedgehog as you dash, jump and spin your way across stunning 3D environments. Swipe your way over and under challenging obstacles in this fast and frenzied endless running game. SONIC The world famous Sonic the Hedgehog stars in his first. The Sonic game that started it all is now free-to-play and optimized for mobile devices! Race at lightning speeds across seven classic zones as Sonic the Hedgehog. Run and spin through loop-de-loops as you collect rings and defeat enemies on your mission to save the world from the evil Dr. Eggman. Sonic the Hedgehog. Download Sonic Dash Go. An endless runner featuring Sonic. Sonic Dash is a platform game starring Sonic. It uses similar gameplay to the now classic 'Temple Run' to produce an exciting experience that demands that you have good reflexes if you want to succeed. Everything you'd expect from a Sonic. Sonic Games, free and safe download. Sonic Games latest version: Remember Sonic? Relive the old days with this game collection. Sonic Games is a set of classic arcade games with the famous blue hedgehog as protagonist. Play as Sonic the Hedgehog as you dash, jump and spin your way across stunning 3D environments. Swipe your way over and under challenging obstacles in this fast and frenzied endless running game for iPad, iPad mini, iPhone & iPod touch. SONIC The world famous Sonic the Hedgehog stars in his first endless. Download Sonic. Free and safe download. -
Open Source Software Notice
Open Source Software Notice This document describes open source software contained in LG Smart TV SDK. Introduction This chapter describes open source software contained in LG Smart TV SDK. Terms and Conditions of the Applicable Open Source Licenses Please be informed that the open source software is subject to the terms and conditions of the applicable open source licenses, which are described in this chapter. | 1 Contents Introduction............................................................................................................................................................................................. 4 Open Source Software Contained in LG Smart TV SDK ........................................................... 4 Revision History ........................................................................................................................ 5 Terms and Conditions of the Applicable Open Source Licenses..................................................................................... 6 GNU Lesser General Public License ......................................................................................... 6 GNU Lesser General Public License ....................................................................................... 11 Mozilla Public License 1.1 (MPL 1.1) ....................................................................................... 13 Common Public License Version v 1.0 .................................................................................... 18 Eclipse Public License Version -
Art. Music. Games. Life. 16 09
ART. MUSIC. GAMES. LIFE. 16 09 03 Editor’s Letter 27 04 Disposed Media Gaming 06 Wishlist 07 BigLime 08 Freeware 09 Sonic Retrospective 10 Alexander Brandon 12 Deus Ex: Invisible War 20 14 Game Reviews Music 16 Kylie Showgirl Tour 18 Kylie Retrospective 20 Varsity Drag 22 Good/Bad: Radio 1 23 Doormat 25 Music Reviews Film & TV 32 27 Dexter 29 Film Reviews Comics 31 Death Of Captain Marvel 32 Blankets 34 Comic Reviews Gallery 36 Andrew Campbell 37 Matthew Plater 38 Laura Copeland 39 Next Issue… Publisher/Production Editor Tim Cheesman Editor Dan Thornton Deputy Editor Ian Moreno-Melgar Art Editor Andrew Campbell Sub Editor/Designer Rachel Wild Contributors Keith Andrew/Dan Gassis/Adam Parker/James Hamilton/Paul Blakeley/Andrew Revell Illustrators James Downing/Laura Copeland Cover Art Matthew Plater [© Disposable Media 2007. // All images and characters are retained by original company holding.] dm6/editor’s letter as some bloke once mumbled. “The times, they are You may have spotted a new name at the bottom of this a-changing” column, as I’ve stepped into the hefty shoes and legacy of former Editor Andrew Revell. But luckily, fans of ‘Rev’ will be happy to know he’s still contributing his prosaic genius, and now he actually gets time to sleep in between issues. If my undeserved promotion wasn’t enough, we’re also happy to announce a new bi-monthly schedule for DM. Natural disasters and Acts of God not withstanding. And if that isn’t enough to rock you to the very foundations of your soul, we’re also putting the finishing touches to a newDisposable Media website. -
Shareware Solutions II
SharewareShareware SolutionsSolutions IIII An Exciting Apple II Journey Into The Future Volume 3, Issue 1 Spring, 1996 Heard It Through The Grapevine Hard Drive Give Away following e-mail message: The There was also quite a bit of dis- winner of the HD is Keith Saga- cussion about Brutal Deluxes Everyone whose subscription low. We threw all of the papers System 6.0.2 update, and Oliv- was current at the end of Febru- into the air, then we threw a ier admitted that his program- ary, 1996 was automatically en- dart at one. There were three ming partner suffered from a tered into the Hard Drive Give names hit by the dart, but only hard drive crash and that much Away Contest, and the winner one was legible, so Keith was of the work had been lost. of that contest is Keith Saga- the winner. low, a IIGS owner from Central The freewheeling online chat Valley, New York. Keith is now Thanks to Tony Diaz for do- session was attended by more the proud owner of a 120 Mega- nating the drive. Thanks to Auri than 30 people, and a good time byte Focus Hard Drive. for acting as an intermediary to seemed to be had by all. Steve Wozniak. Thanks to Woz From the time the contest was for choosing the winner. But Upon his return to France, Oliv- announced in the last issue un- most of all, thanks to all of you ier started work on the next Bru- til the time that Keith received for supporting Shareware Solu- tal Deluxe release, a IIGS game his hard drive, several unexpect- tions II. -
Henry Jenkins Convergence Culture Where Old and New Media
Henry Jenkins Convergence Culture Where Old and New Media Collide n New York University Press • NewYork and London Skenovano pro studijni ucely NEW YORK UNIVERSITY PRESS New York and London www.nyupress. org © 2006 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Jenkins, Henry, 1958- Convergence culture : where old and new media collide / Henry Jenkins, p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8147-4281-5 (cloth : alk. paper) ISBN-10: 0-8147-4281-5 (cloth : alk. paper) 1. Mass media and culture—United States. 2. Popular culture—United States. I. Title. P94.65.U6J46 2006 302.230973—dc22 2006007358 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America c 15 14 13 12 11 p 10 987654321 Skenovano pro studijni ucely Contents Acknowledgments vii Introduction: "Worship at the Altar of Convergence": A New Paradigm for Understanding Media Change 1 1 Spoiling Survivor: The Anatomy of a Knowledge Community 25 2 Buying into American Idol: How We are Being Sold on Reality TV 59 3 Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling 93 4 Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry 131 5 Why Heather Can Write: Media Literacy and the Harry Potter Wars 169 6 Photoshop for Democracy: The New Relationship between Politics and Popular Culture 206 Conclusion: Democratizing Television? The Politics of Participation 240 Notes 261 Glossary 279 Index 295 About the Author 308 V Skenovano pro studijni ucely Acknowledgments Writing this book has been an epic journey, helped along by many hands. -
Art Worlds for Art Games Edited
Loading… The Journal of the Canadian Game Studies Association Vol 7(11): 41-60 http://loading.gamestudies.ca An Art World for Artgames Felan Parker York University [email protected] Abstract Drawing together the insights of game studies, aesthetics, and the sociology of art, this article examines the legitimation of ‘artgames’ as a category of indie games with particularly high cultural and artistic status. Passage (PC, Mac, Linux, iOS, 2007) serves as a case study, demonstrating how a diverse range of factors and processes, including a conducive ‘opportunity space’, changes in independent game production, distribution, and reception, and the emergence of a critical discourse, collectively produce an assemblage or ‘art world’ (Baumann, 2007a; 2007b) that constitutes artgames as legitimate art. Author Keywords Artgames; legitimation; art world; indie games; critical discourse; authorship; Passage; Rohrer Introduction The seemingly meteoric rise to widespread recognition of ‘indie’ digital games in recent years is the product of a much longer process made up of many diverse elements. It is generally accepted as a given that indie games now play an important role in the industry and culture of digital games, but just over a decade ago there was no such category in popular discourse – independent game production went by other names (freeware, shareware, amateur, bedroom) and took place in insular, autonomous communities of practice focused on particular game-creation tools or genres, with their own distribution networks, audiences, and systems of evaluation, only occasionally connected with a larger marketplace. Even five years ago, the idea of indie games was still burgeoning and becoming stable, and it is the historical moment around 2007 that I will address in this article. -
Shall We Play a Game: Thoughts on the Computer Game Archive of the Future
Shall We Play a Game: Thoughts on the Computer Game Archive of the Future Henry Lowood, Stanford University, Oct. 2002 The Importance of the Topic Now that the Pong and Pac-Man generations have aged and few Stanford undergraduates can remember a world without Mario, computer games have suddenly grown up. It is a good time to think about the place of games among media and how we can preserve their history. Many would argue that the “medium of the video game” (the title of a recent book)1 should be a prominent stop on any tour of late 20th-century mediascape, certainly of popular culture and art. The conventional approach cites statistics that measure the commercial success of computer games. Sales of computer and video games in the United States alone, including hardware and accessories, exceeded $10 billion in 2001. By comparison, box-office receipts in the U.S. movie industry reached $8.35 billion, itself a record total. Global sales of hardware and software are expected to exceed $30 billion this year, with developed markets for PC or video games in Japan, Korea, Germany, and the U.K. rivaling the U.S. Dollar figures alone do not say enough about the attention our society devotes to computer games. Generally, games take more time to experience than media such as books and films. The publishers of Half-Life: Counterstrike, the most popular networked multiplayer game, report some 3.4 billion player-minutes per month in mid-2002, exceeding estimates based on Nielsen ratings for even the highest-rated U.S. -
Machinima Aus MEDIENINPULSE
Machinima – eine innovative Form des Filmemachens in der Schule Durch die Modifikation der Software eines Computerspiels können in Echtzeit berechnete Animationsfilme einfach und kostengünstig produziert werden. Das komplexe Medium Film geprägt sind, haben hohe Ansprüche, die nicht eingelöst werden können. Das beginnt bei den Themen der Geschichten und zieht sich über die schauspielerischen ,,Kinder können gar keinen eigenen Film machen“, mit Fähigkeiten, über die Drehortproblematik bis hin zur dieser provokanten Feststellung betitelt Matthias Thimm Kameraführung und dem Schnitt – also der Sprache des einen Projektbericht über die Entstehung eines Films in Films selbst. Häufig stellen Schüler fest, dass es einer sechsten Klasse. Er spielt damit auf die Komplexität einfacher ist, eine Geschichte zu erzählen, als eine des Mediums Film an. Man denke nur an den Abspann Geschichte mit filmischen Mitteln darzustellen. Erst mit von Filmen, der eine Vorstellung davon vermittelt, wie etwas Vorwissen ist es sinnvoll, größere Filmprojekte im viele Menschen zum Gelingen eines Films beitragen. Alle regulären Unterricht durchzuführen. Dieses könnten Bereiche vom Drehbuch, über die Dreharbeiten bis hin Schülerinnen und Schüler erwerben, indem sie zuerst zum Schnitt – um nur die wichtigsten zu nennen – sind überschaubare Aufgabenstellungen mit Machinima eigenständige Arbeitsfelder, die schon für sich alleine bearbeiten. Hingewiesen sei in diesen Zusammenhang genommen viel Erfahrung verlangen. Bei einer auf Alain Bergalas Buch ,,Kino als Kunst“, das sehr gelungenen Filmproduktion spielen diese Bereiche, die praxisnahe Vorschläge für die Sensibilisierung der vom Regisseur gelenkt und koordiniert werden, so Schülerinnen/Schüler für einzelne Elemente der ineinander, dass das Endprodukt wie aus einem Guss Filmgestaltung enthält, die sich leicht in die erscheint. Angesichts dieser Komplexität ist es nicht 2 verwunderlich, dass Lehrerinnen und Lehrer vor der Machinima-Produktion übertragen lassen .