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*P Ocket Sizes May Vary. W E Recommend Using Really, Really Big Ones
*Pocket sizes may vary. We recommend using really, really big ones. Table of Contents Welcome to Dragon*Con! .............................................3 Live Performances—Concourse (CONC) .................38 Film Festival Schedule ...............................................56 Vital Information .........................................................4 Online Gaming (MMO) .........................................91 Walk of Fame ...........................................................58 Important Notes ....................................................4 Paranormal Track (PN) .........................................92 Dealers Tables ..........................................................60 Courtesy Buses .....................................................4 Podcasting (POD) ................................................93 Exhibitors Booths ......................................................62 MARTA Schedule ..................................................5 Puppetry (PT) <NEW> .......................................94 Comics Artists Alley ...................................................64 Hours of Operation ................................................5 Reading Sessions (READ) .....................................96 Art Show: Participating Artists ....................................66 Special Events ......................................................6 Robert Jordan’s Wheel of Time (RJWOT) ................96 Hyatt Atlanta Fan Tracks Information and Room Locations ...................6 Robotics and Maker Track -
Film Culture in Transition
FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. -
Science Fiction on American Television
TV Sci-Fi 16 + GUIDE This and other bfi National Library 16 + Guides are available from http://www.bfi.org.uk/16+ TV Sci-Fi CONTENTS Page IMPORTANT NOTE................................................................................................................. 1 ACCESSING RESEARCH MATERIALS.................................................................................. 2 APPROACHES TO RESEARCH, by Samantha Bakhurst ....................................................... 4 INTRODUCTION by Sean Delaney ......................................................................................... 6 AMERICAN TELEVISION........................................................................................................ 8 SCIENCE FICTION ON AMERICAN TELEVISION ................................................................. 9 AUDIENCES AND FANS......................................................................................................... 11 ANDROMEDA ......................................................................................................................... 12 BABYLON 5 ............................................................................................................................ 14 BATTLESTAR GALACTICA................................................................................................... 17 FARSCAPE ............................................................................................................................. 19 THE IRWIN ALLEN QUARTET • VOYAGE TO THE BOTTOM OF THE SEA..................................................................... -
Wonderful! 100: a Centennial Celebration Published September 18Th, 2019 Listen on Themcelroy.Family
Wonderful! 100: A Centennial Celebration Published September 18th, 2019 Listen on TheMcElroy.family [theme music plays] Rachel: Hi, this is Rachel McElroy. Griffin: [laughs] Yeah. Okay, Mario. Yeah, I'll hit you up at the after party. Okay, man. Yeah, I'll see you there. Hey, this is Griffin McElroy. Rachel: And this is Wonderful! Griffin: Sorry, it‘s just… [sighs] I know we gotta focus on the show. I know it‘s our big day, but… we‘re on the red carpet, and like… Rachel: Yeah. Griffin: It‘s hard—if Mario Lopez comes up and wants to hang out at the after party, babe, it‘s like, I‘ve made it! Rachel: I know, but let‘s not celebrate our hundredth episode before we‘ve actually recorded it. Griffin: Right, this is the red carpet before the event. We‘re about to go to the first screening of our hundredth episode. For all I know, it could be a disaster. Mario may not want to talk to me after the party, so I need to check that—cash that check. Shit, if this is the energy I bring to ep one hundred, Mario‘s definitely not gonna wanna talk to me. Rachel: [laughs] Griffin: I just wanna tell him what a good job he did playing Greg Louganis in that one Lifetime movie. Rachel: Aw, jeez. Griffin: In that one commercial I saw for it where he asked if there was a blood nipple. Rachel: Yeah. Yeah. Yeah. Griffin: You love that anecdote. Rachel: Yeah. Griffin: Who are you looking forward to seeing today on the big red way? Rachel: Well, Wallace Shawn. -
Finding the Way: Films Found on a Scrap Heap1
FINDING THE WAY: FILMS FOUND ON A SCRAP HEAP1 Tom Gunning Abstract: Some filmmakers restrict their manipulations of found footage to the minimal act of presenting a film they have discovered with almost no changes. But others have subjected found footage to extensive editing, chemical manipulation, rephotography, or new soundtracks (or all of these processes combined). In this brief essay I cannot hope to cover all the permutations of this rich genre of experimental film, nor to mention all of its numerous practitioners (and I will deal with the visual image more than sound). However, I do want to give a sense of the range of approaches that exist using found footage to mention a few of its masters. Keywords: found objects, found-footage, archival filmmaking 1 First published in BLOEMHEUVEL, Marente; FOSSATI, Giovanna; GULDEMOND, Jaap (org.). Found Footage: cinema exposed. Amsterdam: Amsterdam University Press/ Eye Film Institute, 2012, p. 49- 55. Uma publicação do LAICA-USP - Volume 3, Número 5, Junho de 2014 FINDING THE WAY – Tom Gunning Modern art made from found material often takes the form of a Dadaist joke – a work of “anti-art” that questions our assumptions about the value and nature of art generally. Marcel Duchamp’s 1917 “sculpture,” Fountain, a ready-made urinal placed on a pedestal for exhibition and signed “R. Mutt,” remains the most famous and powerful example of this nihilist attitude. Attacking idealizing traditions that see art as the expression of eternal beauty or individual genius, Duchamp’s work shocked viewers and raised a series of questions that became crucial to twentieth century art: the difference between industrial mass production and the traditional work of art; the very nature of authorship in the arts (“R. -
Vol. 3 Issue 4 July 1998
Vol.Vol. 33 IssueIssue 44 July 1998 Adult Animation Late Nite With and Comics Space Ghost Anime Porn NYC: Underground Girl Comix Yellow Submarine Turns 30 Frank & Ollie on Pinocchio Reviews: Mulan, Bob & Margaret, Annecy, E3 TABLE OF CONTENTS JULY 1998 VOL.3 NO.4 4 Editor’s Notebook Is it all that upsetting? 5 Letters: [email protected] Dig This! SIGGRAPH is coming with a host of eye-opening films. Here’s a sneak peak. 6 ADULT ANIMATION Late Nite With Space Ghost 10 Who is behind this spandex-clad leader of late night? Heather Kenyon investigates with help from Car- toon Network’s Michael Lazzo, Senior Vice President, Programming and Production. The Beatles’Yellow Submarine Turns 30: John Coates and Norman Kauffman Look Back 15 On the 30th anniversary of The Beatles’ Yellow Submarine, Karl Cohen speaks with the two key TVC pro- duction figures behind the film. The Creators of The Beatles’Yellow Submarine.Where Are They Now? 21 Yellow Submarine was the start of a new era of animation. Robert R. Hieronimus, Ph.D. tells us where some of the creative staff went after they left Pepperland. The Mainstream Business of Adult Animation 25 Sean Maclennan Murch explains why animated shows targeted toward adults are becoming a more popular approach for some networks. The Anime “Porn” Market 1998 The misunderstood world of anime “porn” in the U.S. market is explored by anime expert Fred Patten. Animation Land:Adults Unwelcome 28 Cedric Littardi relates his experiences as he prepares to stand trial in France for his involvement with Ani- meLand, a magazine focused on animation for adults. -
A Concise Guide to Filmmaking (Print Version) (PDF, 2043Kb)
Print version with QR codes C O N T E N T S #1 P L A N The concept . 5 Storyboards . 6 Preparation . 7 Filming equipment . 9 #2 F I L M Setting up your smartphone . 17 Recording audio and narration . 19 Setting up shots: lighting . 21 Setting up shots: framing . 22 Filming . 23 Stock footage . 24 #3 E D I T Editing software . 27 Getting started in Camtasia 9.0 . 29 Screen recording . 31 Basic editing tools . 32 Effects, behaviours and green screen filming . 33 Interactivity . 36 #4 S H A R E Saving and exporting projects . 39 Uploading to social media . 40 1 I N T R O D U C T I O N To keep track of your filmmaking progress, use our filmmaking checklist on page 41. ★ Generate film ideas with the use of mind maps. ★ Develop and structure stories using our storyboard template. ★ Plan the details, including film type, equipment, locations, props and actors. ★ Choose filming equipment with the use of our guide. ★ Check out our top picks for smartphone stabilisation devices, add-on lenses, filmmaking apps, external microphones, and lighting equipment. ★ Learn how to set up your phone for smartphone filming. ★ Optimise your audio recording without the use of expensive equipment. ★ Watch our lighting tips video and learn how to create beautifully lit shots. ★ Frame your shots like a professional with the use of our framing tips video. ★ Film a test video to check everything is perfect, then shoot your film. ★ Keep a log of your footage to make sorting and editing your media easier. -
Probabilistic Models of Verbal and Body Gestures
15 Probabilistic ~1odels of Verbal and Body Gestures C. Bregler, S.M. Omohundro, M. Covell, M. Slaney, S. Ahmad, D.A. Forsyth, J.A. Feldman Abstract This chapter describes several probabilistic techniques for representing, recognizing, and generating spatiotemporal configuration sequences. We first describe how such techniques can be used to visually track and recognize lip movements to augment a speech recognition system. We then demonstrate additional techniques that can be used to animate video footage of talking faces and synchronize it to different sentences of an audio track. Finally we outline alternative low-level representations that are needed to apply these techniques to articulated body gestures. 15.1 Introduction Gestures can be described as characteristic configurations over time. While uttering a sentence, we express very fine grained verbal gestures as complex lip configurations over time, and while performing bodily actions, we generate articulated configuration sequences of jointed arm and leg segments. Such configurations lie in constrained subspaces and different gesture~ are embodied as different characteristic trajectories in these constrained subspaces. We present a general technique called Manifold Learning, that is able to estimate such constrained subspaces from example data. This tech nique is applied to the domain of tracking, recognition, and interpola 289 290 Bregier et ai. tion. Characteristic trajectories through such spaces are estimated using Hidden Markov Models. We show the utility of these techniques on the domain of visual acoustic recognition of continuous spelled letters. We also show how visual acoustic lip and facial feature models can be used for the inverse task: facial animation. For this domain we developed a modified tracking technique and a different lip interpolation technique, as well as a more general decomposition of visual speech units based on Visemes. -
Selected Press
i donT know Brad Troemel in conversation with Haley mellin a lot of money, that’s a good way to go. The only way you can get them to come into the real world is to print them up. HM: At times I feel like we live in a constant dot-jump. BT: We figured if we were making sculptures for the sole purpose Supposedly, humans nowadays have 60,000 thoughts a day, most of them different in nature from the previous one. of making installation images, why not just cut out the middleman BT: In an attention economy, there is more value in being and get rid of the objects? This gave us the freedom to work even ubiquitous than in being scarce, especially when there is no THE more quickly. That’s when we started compositing Google Image- added cost in publicizing more works and no depletion of searched products, scenes, and textures together. This meant that the works’ aura, given that digital content exists permanently images made on a laptop using Photoshop would be called sculp- only as a copy. The waiting period between releases that once tures, installations, or paintings, just like the things we made phys- structured the market and assigned a price to each work does ically. Some of the images reveal themselves to be obviously Jogging not suit online content. There is now simply not enough time digitally edited, while others are passable as real. for a single assessor to explore an aesthlete’s full catalog, or for the market to price it all. -
Hartford Public Library DVD Title List
Hartford Public Library DVD Title List # 20 Wild Westerns: Marshals & Gunman 2 Days in the Valley (2 Discs) 2 Family Movies: Family Time: Adventures 24 Season 1 (7 Discs) of Gallant Bess & The Pied Piper of 24 Season 2 (7 Discs) Hamelin 24 Season 3 (7 Discs) 3:10 to Yuma 24 Season 4 (7 Discs) 30 Minutes or Less 24 Season 5 (7 Discs) 300 24 Season 6 (7 Discs) 3-Way 24 Season 7 (6 Discs) 4 Cult Horror Movies (2 Discs) 24 Season 8 (6 Discs) 4 Film Favorites: The Matrix Collection- 24: Redemption 2 Discs (4 Discs) 27 Dresses 4 Movies With Soul 40 Year Old Virgin, The 400 Years of the Telescope 50 Icons of Comedy 5 Action Movies 150 Cartoon Classics (4 Discs) 5 Great Movies Rated G 1917 5th Wave, The 1961 U.S. Figure Skating Championships 6 Family Movies (2 Discs) 8 Family Movies (2 Discs) A 8 Mile A.I. Artificial Intelligence (2 Discs) 10 Bible Stories for the Whole Family A.R.C.H.I.E. 10 Minute Solution: Pilates Abandon 10 Movie Adventure Pack (2 Discs) Abduction 10,000 BC About Schmidt 102 Minutes That Changed America Abraham Lincoln Vampire Hunter 10th Kingdom, The (3 Discs) Absolute Power 11:14 Accountant, The 12 Angry Men Act of Valor 12 Years a Slave Action Films (2 Discs) 13 Ghosts of Scooby-Doo, The: The Action Pack Volume 6 complete series (2 Discs) Addams Family, The 13 Hours Adventure of Sherlock Holmes’ Smarter 13 Towns of Huron County, The: A 150 Year Brother, The Heritage Adventures in Babysitting 16 Blocks Adventures in Zambezia 17th Annual Lane Automotive Car Show Adventures of Dally & Spanky 2005 Adventures of Elmo in Grouchland, The 20 Movie Star Films Adventures of Huck Finn, The Hartford Public Library DVD Title List Adventures of Ichabod and Mr. -
Table of Contents
Table of Contents Schedule-at-a-Glance . 2 FiO + LS Chairs’ Welcome Letters . 3 General Information . 5 Conference Materials Access to Technical Digest Papers . 7 FiO + LS Conference App . 7 Plenary Session/Visionary Speakers . 8 Science & Industry Showcase Theater Programming . 12 Networking Area Programming . 12 Participating Companies . 14 OSA Member Zone . 15 Special Events . 16 Awards, Honors and Special Recognitions FiO + LS Awards Ceremony & Reception . 19 OSA Awards and Honors . 19 2019 APS/Division of Laser Science Awards and Honors . 21 2019 OSA Foundation Fellowship, Scholarships and Special Recognitions . 21 2019 OSA Awards and Medals . 22 OSA Foundation FiO Grants, Prizes and Scholarships . 23 OSA Senior Members . 24 FiO + LS Committees . 27 Explanation of Session Codes . 28 FiO + LS Agenda of Sessions . 29 FiO + LS Abstracts . 34 Key to Authors and Presiders . 94 Program updates and changes may be found on the Conference Program Update Sheet distributed in the attendee registration bags, and check the Conference App for regular updates . OSA and APS/DLS thank the following sponsors for their generous support of this meeting: FiO + LS 2019 • 15–19 September 2019 1 Conference Schedule-at-a-Glance Note: Dates and times are subject to change. Check the conference app for regular updates. All times reflect EDT. Sunday Monday Tuesday Wednesday Thursday 15 September 16 September 17 September 18 September 19 September GENERAL Registration 07:00–17:00 07:00–17:00 07:30–18:00 07:30–17:30 07:30–11:00 Coffee Breaks 10:00–10:30 10:00–10:30 10:00–10:30 10:00–10:30 10:00–10:30 15:30–16:00 15:30–16:00 13:30–14:00 13:30–14:00 PROGRAMMING Technical Sessions 08:00–18:00 08:00–18:00 08:00–10:00 08:00–10:00 08:00–12:30 15:30–17:00 15:30–18:30 Visionary Speakers 09:15–10:00 09:15–10:00 09:15–10:00 09:15–10:00 LS Symposium on Undergraduate 12:00–18:00 Research Postdeadline Paper Sessions 17:15–18:15 SCIENCE & INDUSTRY SHOWCASE Science & Industry Showcase 10:00–15:30 10:00–15:30 See page 12 for complete schedule of programs . -
Michael Bell-Smith and Lauren Cornell Same Space Over the Last Ten Years
LC: This exhibition was a partial survey lation so that it would exaggerate a of work you’ve created since 2005. Can feeling of “thingness”? you describe the selection? Was the MBS: I wanted to show work that could intent to show a breadth of work or to touch upon that idea in different ways— Gray Areas narrow in on several themes or formal pieces with different relationships to strategies? duration, to other media (sculpture, paint- MBS: I’ve rarely gotten the opportunity ing, etc.), to scale, to display technologies to show different bodies of work in the (CRT monitors vs. video projection vs. An Interview between Michael Bell-Smith and Lauren Cornell same space over the last ten years. I flat screens). I wanted some videos to feel wanted to have a variety of pieces talking more like objects, others like pictures, to each other, creating new associations and still others like more traditional and meanings. In that respect, I saw the video screenings. show working as a typical survey might: a For instance, three videos—Glitter way to present a more multifaceted idea Grade, Return to Forever, and On The of what I do. Another aspect of the show Grid—were projected on the wall at a was thinking about the duality of video scale comparable to paintings or large as both digital files and as things. On photographs. These three works are quite one hand, video is portable and ephem- minimal; very little “happens” in them. eral, while on the other, your experience They work more with the language of pic- 33 as a viewer is entirely dependent on its tures than the ideas of montage we might physical manifestation.