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2004 February
February 2004 Games and Entertainment Megan Morrone Today you can use the same machine to organize your finances, create a presentation for your boss, and defend the Earth from flesh-eating aliens. But let’s be honest: Even with the crazy advances in software, organizing your finances and creating a presentation for your boss are still not half as much fun as defending the Earth from flesh-eating aliens.That’s why we’ve devoted the entire month of February to the noble pursuit of games and entertainment for PCs, Macs, game consoles, and PDAs. I know what you’re thinking.You’re thinking that you can skip right over this chapter because you’re not a gamer. Gamers are all sweaty, pimpled, 16-year-old boys who lock themselves in their basements sustained only by complex carbohydrates and Mountain Dew for days on end, right? Wrong.Video games aren’t just for young boys anymore. Saying you don’t like video games is like saying you don’t like ice cream or cheese or television or fun.Are you trying to tell me that you don’t like fun? If you watch The Screen Savers,you know that each member of our little TV family has a uniquely different interest in games. Morgan loves a good frag fest, whereas Martin’s tastes tend toward the bizarre (think frogs in blenders or cow tossing.) Kevin knows how to throw a cutting-edge LAN party,while Joshua and Roger like to kick back with old-school retro game emulators. I like to download free and simple low-res games that you can play on even the dinkiest PC, whereas Patrick prefers to build and rebuild the perfect system for the ultimate gaming experience (see February 13).And leave it to Leo to discover the most unique new gaming experience for the consummate early adopter (see February 1). -
Ontic Communities
Ontic Communities: Speculative Fiction, Ontology, and the Digital Design Community A Dissertation Submitted to the Faculty of Drexel University by James W. Malazita in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2014 ii © Copyright 2014 James W. Malazita. All Rights Reserved. iii Table of Contents Introduction:........................................................................................................................ 1 Chapter 1: Communities of Practice, Who and What:...................................................... 45 Chapter 2: Ontology and Epistemology:........................................................................... 93 Chapter 3: Speculative Reality:....................................................................................... 144 Conclusion:....................................................................................................................... 190 Works Cited:.....................................................................................................................192 iv List of Tables 1. Analysis of Speakers and Article Content of Wired .............................................................8 2. Analysis of Ontic Talk in Wired...................................................................................... ..109 v List of Figures 1. The Subject-Object Split in Social Scientific Thinking...............................................................27 2. A Screen Shot of Cipher Prime's Auditorium ............................................................................52 -
A TAKESHI KITANO FILM a BANDAI VISUAL, TV TOKYO, OMNIBUS JAPAN and OFFICE KITANO Production
A TAKESHI KITANO FILM A BANDAI VISUAL, TV TOKYO, OMNIBUS JAPAN and OFFICE KITANO Production IN COMPETITION JAPAN - 2010 -109 min - Color - Cinemascope - Dolby Digital WORLD SALES CELLULOID DREAMS CELLULOID DREAMS 2 rue Turgot IN CANNES INTERNATIONAL PRESS 75009 Paris Le Grand Hotel RICHARD LORMAND world cinema publicity T: + 33 1 4970 0370 entrance “The Cormoran” www.filmpressplus.com F: + 33 1 4970 0371 7th Floor - 45 La Croisette [email protected] [email protected] T: + 33 4 93 68 32 98 Tel : +33-9-7044-9865 / +33-6-2424-1654 www.celluloid-dreams.com F: + 33 4 93 68 36 49 Several subsidiary bosses gather at a lavish lunch with “Mr. Chairman,” the head of the ruling Sanno-kai crime organization which controls the Greater Tokyo area. Sanno- kai underboss Kato warns Ikemoto about his overt dealings with family outsider Murase, an old-timer with whom he recently made a pact in prison. In an effort to ease Mr. Chairman’s suspicions, Ikemoto asks fellow boss Otomo to do his dirty work for him by making a minor but obvious move against Murase. Otomo’s actions are the start of a ruthless series of conflicts and betrayals. Before long, several yakuza clans are out for blood in their constant battle for power and money. The rival bosses fight to rise through the ranks by scheming and making short-lived allegiances. In this corrupt world where there are no heroes, it’s Bad Guy vs. Bad Guy in a spiralling outrage of gang warfare… THE STORY ON YAKUZA FLICKS For a long time, I was often questioned why I made yakuza flicks. -
Undervattensmusik I Plattformsspel
Örebro universitet Musikhögskolan Program ___________________________________________________________________________ Undervattensmusik i plattformsspel En djupdykning i musikaliskt gestaltande av en undervattensmiljö ___________________________________________________________________________ Kurs: Musikalisk gestaltning, Musikproduktion, Självständigt arbete Vårterminen 2017 Författare: Andreas Palm ABSTRACT Författare: Andreas Palm Handledare: Peter Fogel & Simon Schierup Titel: Undervattensmusik i plattformsspel: En djupdykning i musikaliskt gestaltande av en undervattensmiljö Title in English: Underwater music in platform games: A deep look into visualizing an underwater environment with music Undervattensbanor i tv-spel har kommit att förknippas med förändring, på grund av att banorna introducerar ny spelmekanik såväl som nya fiender och ett lägre tempo. Detta har fått kompositörer att anpassa musiken till förändringarna och i sinom tid skapat en gren inom tv- spelsmusiken som bygger på atmosfär och känsla. Jag har alltid varit fascinerad av undervattensmusik och hur den gestaltas och ville utforska min process när jag komponerade musik avsedd för tv-spel på temat under vatten. För att hitta rätt ljud och känsla använde jag mig av det analytiska verktyget spectromorphology som hjälper en att identifiera vad ett ljud beskriver/symboliserar individuellt och i en kontext. Jag använde mig även av konnotationer till ordet vatten till att grunda mina gestaltande beslut på, och analyserade populär undervattensmusik för att se vad som var talande för miljön i den. Resultatet blev ett undervatten-tema som jag tyckte fångade känslan av att vara under vatten på grund av noggrant utvalda ljud och anpassning till begrepp och termer ur spectromorphology. Jag fick en djupare förståelse för hur jag produktionsmässigt skapar en känsla av att vara under vatten, vilka ljudtekniska verktyg som är viktiga och vad de ger för betydelse. -
Une Étude De L'impact Des Jeux Vidéo Sur L'identité De Joueurs Franco-Ontarie
Titre courant : « JE JOUE, DONC JE SUIS » Une étude de l’impact des jeux vidéo sur l’identité de joueurs franco-ontariens Geoffroy Legault-Thivierge Thèse présentée à la Faculté des études supérieures et postdoctorales de l’Université d’Ottawa dans le cadre du programme de maîtrise en communication pour l’obtention du grade Maîtrise en Arts (M.A) Sous la direction de Philippe Ross, Ph. D Mots-clés : apprentissage, acculturation, sondage, entrevue, Franco-ontariens Département de communication Université d’Ottawa © Geoffroy Legault-Thivierge, Ottawa, Canada, 2016 On my business card, I am a corporate president. In my mind, I am a game developer. But in my heart, I am a gamer. – Satoru Iwata (1959-2015) ii SOMMAIRE Le jeu vidéo, de par sa popularité impressionnante et relativement récente, nécessite que l’on s’attarde à une analyse de ses impacts potentiels sur ses adeptes. Média largement prédominé par l’anglais, son impact sur l’identité de Franco-ontariens se révèle particulièrement pertinent étant donné la situation linguistique minoritaire de ces joueurs. Cette identité, bien qu’en harmonie avec les jeux vidéo, pourrait-elle entrer en conflit avec la langue de ces mêmes jeux? Dans cette étude, on cherche à étudier l’impact des jeux vidéo (considérés ici comme supports d’apprentissage à l’anglais) sous la forme d’apprentissage de la langue et d’acculturation (c.-à-d. l’ouverture d’esprit face à une autre culture et le délaissement de l’identité francophone). S’inscrivant dans un cadre théorique de sociologie des usages, cette étude s’attarde aux pratiques actuelles de 33 joueurs franco-ontariens, soit les activités et comportements des joueurs, par l’entremise d’un sondage (méthode quantitative) et d’entrevues semi-dirigées (méthode qualitative). -
The Cambridge Companion to Video Game Music Edited by Melanie Fritsch , Tim Summers Frontmatter More Information
Cambridge University Press 978-1-108-47302-6 — The Cambridge Companion to Video Game Music Edited by Melanie Fritsch , Tim Summers Frontmatter More Information The Cambridge Companion to Video Game Music Video game music has been permeating popular culture for over forty years. Now, reaching billions of listeners, game music encompasses a diverse spectrum of musical materials and practices. This book provides a comprehensive, up-to-date survey of video game music by a diverse group of scholars and industry professionals. The chapters and summaries consolidate existing knowledge and present tools for readers to engage with the music in new ways. Many popular games are analyzed, including Super Mario Galaxy, Bastion, The Last of Us, Kentucky Route Zero and the Katamari, Gran Turismo and Tales series. Topics include chiptunes, compositional processes, localization, history and game music concerts. The book also engages with other disciplines such as psychology, music analysis, business strategy and critical theory, and will prove an equally valuable resource for readers active in the industry, composers or designers, and music students and scholars. melanie fritsch is Junior Professor in Media and Cultural Studies with a focus on Game Studies and related fields at Heinrich Heine University Düsseldorf. She is the author of Performing Bytes: Musikperformances der Computerspielkultur (2018). tim summers is Lecturer in Music at Royal Holloway, University of London. He is the author of Understanding Video Game Music (Cambridge, 2016) and The Legend -
CRITICAL NOTES – Non Peer-Peviewed
ISSN 2280-7705 The Italian Journal www.gamejournal.it Associazione Culturale LUDICA of Game Studies Games as Art, Media, Entertainment Issue 06, 2017 – volume 2 CRITICAL SECTION (Non peer-reviewed) HEAR THE MUSIC, PLAY THE GAME Music and Game Design: Interplays and Perspectives Edited by H. C. Rietveld & M. B. Carbone Extase (ERE Informatique, 1991) – Graphics by Michel Rho. CRITICAL NOTES – Non peer-peviewed Issue 06 – 2017 GAME Journal Games as Art, Media, Entertainment G|A|M|E is an international, peer-reviewed, free access games studies journal. G|A|M|E publishes one monographic issue per year A PROJECT BY SUPERVISING EDITORS Associazione Culturale LUDICA Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Reggio Calabria IT & London UK Leonardo Quaresima (Università di Udine). HQ: Via Vittorio Veneto 33 89123 Reggio Calabria, Italy Offices: 52 Kelly Avenue, EDITORS London SE15 5LH, UK Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Amsterdam University of Applied Sciences), Ivan Girina (Brunel University In association with filmforumfestival.it London), Federico Giordano (Università Telematica San Raffaele, Roma), Ilaria Mariani (Politecnico di Milano), Valentina Paggiarin (Hive Division), Paolo Ruffino (University of Lincoln), Mauro Salvador (Università di Modena e Reggio Emilia), Marco Teti (Università eCampus). WITH THE PATRONAGE OF Università di Cagliari ASSOCIATED EDITORS Dipartimento di Storia, Beni Culturali e Territorio Stefano Baschiera (Queen’s University, Belfast), Stefano Gualeni (University of Malta). PARTNERS ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (IULM Milano), Jay David Bolter (Georgia Institute of Technology), Gordon C. -
Takeshi Kitano Venice Film Festival 2003 in Competition
a film by Takeshi Kitano Venice Film Festival 2003 In Competition Bandai Visual, To k yo FM, Dentsu, TV Asahi, Saito Entertainment and Office Kitano pr e s e n t a film by Takeshi Kitano s t a r r i n g Beat Takeshi a n d Tadanobu Asano World Sales: Celluloid Dreams 2, Rue Tu rgot 75009 PA R IS tel. +33-1-4970 - 0370 fax. +33-1-4970 - 037 1 www. c e l l u l o i d- d r e a m s . co m International Press: Ri c h a rd Lormand www. f i l m pr e s s p l u s . co m i n t l pr e s s @ a o l . co m tel. +33-1-4804-5173 fax. +33-1-4804-8043 tel. +39-3 4 9 - 6 1 6 - 5 9 8 1 o r + 3 9 -3 47- 2 5 6 - 4 1 4 3 2 0 03 - Japan - 116' - Color - 35mm - 1:85 - Dolby SRD Not only is ZATOICHI my first period piece, but it's also the first time since my directorial debut VIOLENT COP that I have made a film from an existing idea conceived by someone else. I thought ZATOICHI was going to be a tough film to make because making a period piece is commonly considered to be much more painstaking. It actually turned out to be quite a fun film to make. I found the whole process of making a period piece much more fictitious because I had to fabricate everything. -
HEAR the MUSIC, PLAY the GAME Music and Game Design: Interplays and Perspectives Edited by H
ISSN 2280-7705 The Italian Journal www.gamejournal.it Associazione Culturale LUDICA of Game Studies Games as Art, Media, Entertainment Issue 06, 2017 – volume 1 JOURNAL (PEER-REVIEWED) HEAR THE MUSIC, PLAY THE GAME Music and Game Design: Interplays and Perspectives Edited by H. C. Rietveld & M. B. Carbone Extase (ERE Informatique, 1991) – Graphics by Michel Rho. GAME JOURNAL – Peer-Reviewed Section Issue 06 – 2017 GAME Journal Games as Art, Media, Entertainment G|A|M|E is an international, peer-reviewed, free access games studies journal. G|A|M|E publishes one monographic issue per year A PROJECT BY SUPERVISING EDITORS Associazione Culturale LUDICA Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Reggio Calabria IT & London UK Leonardo Quaresima (Università di Udine). HQ: Via Vittorio Veneto 33 89123 Reggio Calabria, Italy Offices: 52 Kelly Avenue, EDITORS London SE15 5LH, UK Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Amsterdam University of Applied Sciences), Ivan Girina (Brunel University In association with filmforumfestival.it London), Federico Giordano (Università Telematica San Raffaele, Roma), Ilaria Mariani (Politecnico di Milano), Valentina Paggiarin (Hive Division), Paolo Ruffino (University of Lincoln), Mauro Salvador (Università di Modena e Reggio Emilia), Marco Teti (Università eCampus). WITH THE PATRONAGE OF Università di Cagliari ASSOCIATED EDITORS Dipartimento di Storia, Beni Culturali e Territorio Stefano Baschiera (Queen’s University, Belfast), Stefano Gualeni (University of Malta). PARTNERS ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (IULM Milano), Jay David Bolter (Georgia Institute of Technology), Gordon C. -
Game Music Como Produto Cultural Autônomo: Como Ela Ultrapassa Os Limites Do Jogo E Se Insere Em Outras Mídias
revista Fronteiras – estudos midiáticos 13(2): 111-120, maio/agosto 2011 © 2011 by Unisinos – doi: 10.4013/fem.2011.132.04 Game music como produto cultural autônomo: como ela ultrapassa os limites do jogo e se insere em outras mídias Camila Schäfer1 RESUMO A música, nos jogos eletrônicos, além de servir como fundo, também é utilizada como forma de potencializar a experiência de imersão e interatividade do jogador. Considerando seu papel no game como de extrema importância, este artigo procura analisar como a música de videogames se tornou um produto cultural autônomo. Depois de realizada a pesquisa bibliográfica, foi analisado o movimento de autonomização da game music para identificar em quais mídias esse tipo de música se insere atualmente e como ela está se tornando uma manifestação cada vez mais visível também fora do universo dos videogames. A partir desses estudos, da análise dos processos de autonomização, concluiu-se que a game music, além de sua importância para os jogos, constitui-se num novo fenômeno midiático que a cada dia cresce e contagia mais pessoas ao redor do mundo. Palavras-chave: game music, música, jogos eletrônicos. ABSTRACT The game music as an autonomous cultural product: How it exceeds the limits of the video games and falls in other media. The music in the video games, besides of working as a background, is also used as a way to leverage the experience of immersion and interactivity of the player. Considering its role in the game as extremely important, this article seeks to analyze how the game’s music has become an autonomous cultural product. -
Narrative Integration in 16-Bit Video Game Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace PRESS START: NARRATIVE INTEGRATION IN 16-BIT VIDEO GAME MUSIC A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC By JUSTIN DANIEL SEXTRO B.M. Truman State University, 2012 Kansas City, Missouri 2015 ii PRESS START: NARRATIVE INTEGRATION IN 16-BIT VIDEO GAME MUSIC Justin Daniel Sextro, Master of Music University of Missouri-Kansas City, 2015 ABSTRACT Ever since Pong graced the screens of video arcades, one of the most influential interactions between technology and sound has been the video game console. Over the past decade, scholars have begun to recognize this interaction with the steady growth of scholarship on video game sound; however, one group of games, that of the 16-bit generation, has been overlooked. The 16-bit era, roughly spanning from 1988 to 1996, was a period of transition and innovation for the medium. The purpose of this research is to identify the elements of narrative integration of 16-bit video game music. To explore these elements, several games from the 16-bit era are examined. The first chapters discuss the common elements of narrative integration, including musical cohesion, identification, mood evocation, and musical codes. The last half of this research is devoted to in-depth discussion of five games; first, the story-driven genre, the Role Playing Game, is represented by Chrono Trigger and Earthbound. The final chapter gives context to the 16-bit era by looking at three games from The Legend of Zelda series. -
FOR MAH BRAHS # 007 Nightfire - 007 Nightfire Unofficial Soundtrack
FOR MAH BRAHS # 007 Nightfire - http://www.filefactory.com/file/7030a7/ 007 Nightfire Unofficial Soundtrack - http://www.filefactory.com/file/1a0856/ A Ace Combat 2 - http://www.filefactory.com/file/a02a705/n/Ace_Combat_2_Original_S oundtrack_rar Ace Combat 3: Electrosphere - http://www.filefactory.com/file/a02a979/n/Ace_Comb at_3_-_Electrosphere_Original_Soundtrack_rar Ace Combat 04: Shattered Skies - http://www.filefactory.com/file/a02a905/n/Ace_C ombat_04_-_Shattered_Skies_Original_Soundtrack_rar Ace Combat 5: The Unsung War - Multi-part RAR (http://www.filefactory.com/file/a 02abgc/n/Ace_Combat_5_-_The_Unsung_War_Original_Soundtrack_part1_rar 1) (http:/ /www.filefactory.com/file/a02a9g5/n/Ace_Combat_5_-_The_Unsung_War_Original_Sound track_part2_rar 2) (http://www.filefactory.com/file/a02aa15/n/Ace_Combat_5_-_Th e_Unsung_War_Original_Soundtrack_part3_rar 3) (http://www.filefactory.com/file/ a02aa6e/n/Ace_Combat_5_-_The_Unsung_War_Original_Soundtrack_part4_rar 4) Ace Combat 6: Fires of Liberation - http://www.filefactory.com/file/a02a99g/n/Ac e_Combat_6_-_Fires_of_Liberation_Original_Soundtrack_rar Ace Combat X: Skies of Deception - http://www.filefactory.com/file/a02a8c8/n/Ace _Combat_X_-_Skies_of_Deception_Original_Soundtrack_rar Ace Combat Zero: The Belkan War - http://www.filefactory.com/file/a02b635/n/Ace_ Combat_Zero_-_The_Belkan_War_Original_Soundtrack_rar ActRaiser (SNES) - http://www.filefactory.com/file/a02aaa7/n/ActRaiser_SNES_Orig inal_Soundtrack_rar ActRaiser 2 (SNES) - http://www.filefactory.com/file/a02ab94/n/ActRaiser_2_SNES_