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Cultura Do Software E Autonomização Da Game Music∗
Cultura do software e autonomização da game music∗ Camila Schäfery Tiago Ricciardi Correa Lopesz Índice Nesse cenário, presenciamos novas formas de produção, distribuição e consumo de pro- Introdução1 dutos culturais cujos efeitos se fazem sentir 1 Os sons nos jogos digitais3 em todo o meio ambiente midiático. As- 2 Cultura do software e game music 4 sim sendo, o presente artigo analisa a au- Conclusão 11 tonomização da game music, ou música de Referências bibliográficas 11 videogame, como processo resultante de um conjunto de práticas operadas no interior da cultura que encontram nos softwares as bases Resumo de sua realização. Palavras-chave: game music; jogos Vivemos hoje a cultura do software, uma eletrônicos; cultura do software. etapa do nosso desenvolvimento civilizatório na qual os programas computacionais for- mam camadas tecnoculturais que cobrem to- das as áreas da sociedade contemporânea. Introdução ∗Artigo originalmente publicado e apresentado ao CLUHAN (1969) já dizia em O meio eixo temático “Jogos, Redes Sociais, Mobilidade e M são as massagens que o surgimento Estruturas Comunicacionais Urbanas”, do V Simpó- e assimilação de novas tecnologias de co- sio Nacional da ABCiber, ocorrido em novembro de 2011, em Florianópolis (SC). municação afetam não somente o segmento yGraduada em Jornalismo (UNISINOS), midiático ao qual se destinam (por exemplo, criadora do blog Console Sonoro (http: o surgimento dos videocassetes e das fitas //consolesonoro.blogspot.com) e colu- VHS em relação ao cinema e à televisão), http://pontov.com.br/ -
Elena Is Not What I Body and Remove Toxins
VISIT HTTP://SPARTANDAILY.COM VIDEO SPORTS Hi: 68o A WEEKEND SPARTANS HOLD STROLL Lo: 43o ALONG THE ON TO CLOSE WIN OVER DONS GUADALUPE Tuesday RIVER PAGE 10 February 3, 2015 Volume 144 • Issue 4 Serving San Jose State University since 1934 LOCAL NEWS Electronic duo amps up Philz Coff ee Disney opens doors for SJSU design team BY VANESSA GONGORA @_princessness_ Disney continues to make dreams come true for future designers. Four students from San Jose State University were chosen by Walt Disney Imagineering as one of the top six college teams of its 24th Imaginations Design Competition. The top six fi nal teams were awarded a fi ve-day, all-expense-paid trip to Glendale, Calif., from Jan. 26–30, where they presented their projects to Imag- ineering executives and took part in an awards cere- mony on Jan. 30. According to the press release from Walt Disney Imagineering, the competition was created and spon- sored by Walt Disney Imagineering with the purpose of seeking out and nurturing the next generation of diverse Imagineers. This year’s Imaginations Design Competition consisted of students from American universities and Samson So | Spartan Daily colleges taking what Disney does best today and ap- Gavin Neves, one-half of the San Jose electronic duo “Hexes” performs “Witchhunt” at Philz plying it to transportation within a well-known city. Coffee’s weekly open mic night on Monday, Feb. 2. Open mic nights take place every Monday at The team’s Disney transportation creation needed the coffee shop from 6:30 p.m. to 9:15 p.m. -
Heavy Metal Generations
Thumb-Bangers: Exploring the Cultural Bond between Video Games and Heavy Metal Louis-Martin Guay and Dominic Arsenault Abstract Heavy metal and video games share an almost simultaneous birth, with Black Sabbath’s debut album in 1970 and Nolan Bushnell’s Computer Space in 1971. From Judas Priest’s ‘Freewheel Burning’ music video in 1984 to Tim Schafer’s Brütal Legend in 2009, the exchanges between these two subcultures have been both reciprocal and exponential. This chapter will present a historical survey of the bond between video games and heavy metal cultures through its highest-profile examples. There are two underlying reasons for this symbiosis: 1) the historical development and popular dissemination of the video game came at an opportune time, first with the video game arcades in the 1970s and early 1980s, and then with the Nintendo Entertainment System, whose technical sound-channel limitations happened to fall in line with the typical structures of heavy metal; 2) heavy metal and video games, along with their creators and consumers, have faced similar sociocultural paths and challenges, notably through the policies set in place by the PMRC and the ESRB, and a flurry of lawsuits and attacks, especially from United States congressmen, that resulted in an overlapping of their respective spaces outside dominant culture. These reasons explain the natural bond between these cultural practices, and the more recent developments like Last Chance to Reason’s Level 2 let us foresee a future where new hybrid creations could emerge. Key Words: Video games, heavy metal, history, violence, subcultures, chiptunes. ***** 1. Of Pinballs and Wizards: The Early Exchanges Heavy metal and video games share an almost simultaneous birth, with Black Sabbath’s debut album in 1970 and Nolan Bushnell’s Computer Space in 1971. -
Spartan Daily, Febuary 3, 2015
VISIT HTTP://SPARTANDAILY.COM VIDEO SPORTS Hi: 68o A WEEKEND SPARTANS HOLD STROLL Lo: 43o ALONG THE ON TO CLOSE WIN OVER DONS GUADALUPE Tuesday RIVER PAGE 10 February 3, 2015 Volume 144 • Issue 4 Serving San Jose State University since 1934 LOCAL NEWS Electronic duo amps up Philz Coff ee Disney opens doors for SJSU design team BY VANESSA GONGORA @_princessness_ Disney continues to make dreams come true for future designers. Four students from San Jose State University were chosen by Walt Disney Imagineering as one of the top six college teams of its 24th Imaginations Design Competition. The top six fi nal teams were awarded a fi ve-day, all-expense-paid trip to Glendale, Calif., from Jan. 26–30, where they presented their projects to Imag- ineering executives and took part in an awards cere- mony on Jan. 30. According to the press release from Walt Disney Imagineering, the competition was created and spon- sored by Walt Disney Imagineering with the purpose of seeking out and nurturing the next generation of diverse Imagineers. This year’s Imaginations Design Competition consisted of students from American universities and Samson So | Spartan Daily colleges taking what Disney does best today and ap- Gavin Neves, one-half of the San Jose electronic duo “Hexes” performs “Witchhunt” at Philz plying it to transportation within a well-known city. Coffee’s weekly open mic night on Monday, Feb. 2. Open mic nights take place every Monday at The team’s Disney transportation creation needed the coffee shop from 6:30 p.m. to 9:15 p.m. -
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.