This document provides an overview of machinima, which is defined as using 3D computer game engines and gameplay to create original animated content. The document discusses the origins and current context of machinima, highlighting how it has evolved from early films created in games like Quake in the 1990s. It also examines machinima through the lenses of participatory culture, co-creation and the creative economy. The document notes machinima is a highly creative practice that blends artistic and technical skills. However, legal shifts and attitudes now limit what machinimators can do with game assets and environments.
Games as Serious Visualisation Tools For Digital Humanities, Cultural Heritage and Immersive Literacy
Are there social and cultural issues raised by virtual, mixed and augmented reality technologies of particular interest to Digital Humanities researchers? I will also discuss related emerging and merging themes in serious game research and a relatively new concept, immersive literacy.
Digital approaches for the arts - 2013 - Unthinkable ConsultingJustinSpooner
This document provides notes from a presentation on digital approaches for the arts. Some key points include:
- Technology should focus on creating better connections between people, ideas, and people/machines, not just more connections.
- Trends can be dangerous and relying on them leads to oblivion; new directions are needed, not just following what others are doing.
- Digital technology allows archives and collections to come alive by making content more accessible online to the public.
- Arts organizations should lead technology changes, not simply respond to pressures to adopt the latest technologies.
- Digital platforms are turning everyone into memory institutions by enabling the persistence of cultural works and events online.
1. Virtual heritage utilizes virtual reality and mixed reality to represent cultural artifacts and spaces. However, interaction design studies and consideration of end-users are often lacking.
2. Cultural presence refers to a visitor's sense of being in a foreign time or place when experiencing virtual environments related to different cultures. However, virtual places can be highly static and lack meaningful interactions.
3. Evaluating virtual heritage projects poses challenges regarding preservation of content over time and platforms, as well as training staff and users. Museums and cultural institutions are still developing strategies for utilizing augmented, virtual and mixed reality technologies.
The document discusses several topics related to redesigning the world and various technologies. It provides summaries of presentations and discussions on transmedia storytelling, social media, mobile technologies, smart cities, and programming life. Key points addressed include using multiple platforms and forms to tell unified stories, how memory and the past can be redesigned, and the potential of programming living software and biomolecular computing.
Abstract. This paper discusses a simplified workflow and interactive learning opportunities for exporting map and location data using a free tool, Recogito into a Unity game environment with a simple virtual museum room template. The aim was to create simple interactive virtual museums for humanities scholars and students with a minimum of programming or gaming experience, while still allowing for interesting time-related tasks. The virtual environment template was created for the Oculus Quest and controllers but can be easily adapted to other head-mounted displays or run on a normal desktop computer. Although this is an experimental design, it is part of a project to increase the use of time-layered cultural data and related mapping technology by humanities researchers.
The document discusses the development of augmented and virtual reality technologies. It begins by asserting that technology should serve human needs rather than machines. It then provides a brief history of immersive technologies, including early concepts from the 1960s and visions from science fiction in the 1980s and 1990s. The bulk of the document consists of short stories that envision how emerging immersive technologies could impact human behavior and interactions. It concludes by emphasizing the importance of considering human factors as immersive technologies continue to advance.
Conference keynote slides for Hainan Conference, November 2019, Hainan China.
Virtual heritage is the combination of virtual reality and cultural heritage. It promises the best features of both, but is difficult to achieve in reality. Why is this so challenging? Has virtual reality offered more than tantalising glimpses of the future in the related fields of cultural heritage and tourism?
The features virtual reality (VR) shares with mixed reality (MR) and augmented reality (AR) are mostly agreed upon, but there are at least two perplexing issues. Technological fusion implies imaginative fusion, and augmented reality had a previous ocular focus.
Virtual reality as a term is also in danger of being replaced by the term XR. What is XR and why is it so potentially useful to heritage tourism? Given VR, AR, MR and XR are typically screen-based, how can screen tourism capitalize of cultural heritage and virtual reality, and on the unique selling points of XR?
I will conclude with a few suggestions and projects we are currently working on or about to commence.
Cite as: K8 Champion, E. (2019). Virtual Heritage, Gaming, & Cultural Tourism, 4th Boao International Tourism Communication Forum (ITCF), Hainan, China, 23-24 November. Interviewed on Chinese television. http://www.baitcf.com/index.php/Ch/Cms/Index/indexe
The document discusses the relationship between virtual and real, including how simulation and virtual reality can support learning. It explores how intelligent virtual assistants and connected objects will continue to blur the lines between digital and physical. The world may one day be terraformed through algorithms to be more fully simulated and interactive.
Games as Serious Visualisation Tools For Digital Humanities, Cultural Heritage and Immersive Literacy
Are there social and cultural issues raised by virtual, mixed and augmented reality technologies of particular interest to Digital Humanities researchers? I will also discuss related emerging and merging themes in serious game research and a relatively new concept, immersive literacy.
Digital approaches for the arts - 2013 - Unthinkable ConsultingJustinSpooner
This document provides notes from a presentation on digital approaches for the arts. Some key points include:
- Technology should focus on creating better connections between people, ideas, and people/machines, not just more connections.
- Trends can be dangerous and relying on them leads to oblivion; new directions are needed, not just following what others are doing.
- Digital technology allows archives and collections to come alive by making content more accessible online to the public.
- Arts organizations should lead technology changes, not simply respond to pressures to adopt the latest technologies.
- Digital platforms are turning everyone into memory institutions by enabling the persistence of cultural works and events online.
1. Virtual heritage utilizes virtual reality and mixed reality to represent cultural artifacts and spaces. However, interaction design studies and consideration of end-users are often lacking.
2. Cultural presence refers to a visitor's sense of being in a foreign time or place when experiencing virtual environments related to different cultures. However, virtual places can be highly static and lack meaningful interactions.
3. Evaluating virtual heritage projects poses challenges regarding preservation of content over time and platforms, as well as training staff and users. Museums and cultural institutions are still developing strategies for utilizing augmented, virtual and mixed reality technologies.
The document discusses several topics related to redesigning the world and various technologies. It provides summaries of presentations and discussions on transmedia storytelling, social media, mobile technologies, smart cities, and programming life. Key points addressed include using multiple platforms and forms to tell unified stories, how memory and the past can be redesigned, and the potential of programming living software and biomolecular computing.
Abstract. This paper discusses a simplified workflow and interactive learning opportunities for exporting map and location data using a free tool, Recogito into a Unity game environment with a simple virtual museum room template. The aim was to create simple interactive virtual museums for humanities scholars and students with a minimum of programming or gaming experience, while still allowing for interesting time-related tasks. The virtual environment template was created for the Oculus Quest and controllers but can be easily adapted to other head-mounted displays or run on a normal desktop computer. Although this is an experimental design, it is part of a project to increase the use of time-layered cultural data and related mapping technology by humanities researchers.
The document discusses the development of augmented and virtual reality technologies. It begins by asserting that technology should serve human needs rather than machines. It then provides a brief history of immersive technologies, including early concepts from the 1960s and visions from science fiction in the 1980s and 1990s. The bulk of the document consists of short stories that envision how emerging immersive technologies could impact human behavior and interactions. It concludes by emphasizing the importance of considering human factors as immersive technologies continue to advance.
Conference keynote slides for Hainan Conference, November 2019, Hainan China.
Virtual heritage is the combination of virtual reality and cultural heritage. It promises the best features of both, but is difficult to achieve in reality. Why is this so challenging? Has virtual reality offered more than tantalising glimpses of the future in the related fields of cultural heritage and tourism?
The features virtual reality (VR) shares with mixed reality (MR) and augmented reality (AR) are mostly agreed upon, but there are at least two perplexing issues. Technological fusion implies imaginative fusion, and augmented reality had a previous ocular focus.
Virtual reality as a term is also in danger of being replaced by the term XR. What is XR and why is it so potentially useful to heritage tourism? Given VR, AR, MR and XR are typically screen-based, how can screen tourism capitalize of cultural heritage and virtual reality, and on the unique selling points of XR?
I will conclude with a few suggestions and projects we are currently working on or about to commence.
Cite as: K8 Champion, E. (2019). Virtual Heritage, Gaming, & Cultural Tourism, 4th Boao International Tourism Communication Forum (ITCF), Hainan, China, 23-24 November. Interviewed on Chinese television. http://www.baitcf.com/index.php/Ch/Cms/Index/indexe
The document discusses the relationship between virtual and real, including how simulation and virtual reality can support learning. It explores how intelligent virtual assistants and connected objects will continue to blur the lines between digital and physical. The world may one day be terraformed through algorithms to be more fully simulated and interactive.
This document lists the top 10 SSC coaching centers in Hyderabad, India. It provides the name, address, phone number, email and website for each coaching center. The coaching centers offer test preparation services for exams like SSC CGL and SSC CHSL.
This document certifies that Olof Janelöv successfully completed the 8 week online course "Inspiring Leadership through Emotional Intelligence" offered through Coursera and authorized by Case Western Reserve University. The course was completed with distinction and is verified through Coursera.
Haiku Deck is a presentation tool that allows users to create Haiku style slideshows. The tool encourages users to get started making their own Haiku Deck presentations which can be shared on SlideShare. In just a few sentences, it pitches the idea of using Haiku Deck to easily create visual presentations.
El documento contiene instrucciones para una tarea que incluye: 1) crear una portada sobre temas como identidad colectiva y globalización en México; 2) imprimir y pegar un cuadro de evaluación firmado por el tutor; 3) leer un artículo sobre cómo influye un código de ética y escribir una opinión sobre ello en la libreta. También incluye una nota para los alumnos que van a un simulador.
This document discusses the issue of food deserts in the United States. Some key points:
- Over 23.5 million US citizens live in areas over 1 mile (urban) or 10 miles (rural) from sources of affordable, healthy food. Lower income areas have 3 times fewer supermarkets than wealthier areas.
- Food deserts are linked to higher rates of obesity, diabetes, and increased costs for nutritious food. However, access to supermarkets in urban food deserts increases fresh produce intake by 32%.
- The document proposes a series of pop-up farmers markets in food desert regions between March and November, bringing local, donated produce directly to communities in need.
El documento habla sobre la interpretación de las enseñanzas de Omraam Mikhaël Aïvanhov sobre la venganza. Explica que el mal no se combate con más mal sino con comprensión y amor, y que la mejor venganza es fortalecernos interiormente con comprensión y amor para poder ayudar a quienes nos quieren hacer daño.
A doctoral research project looking at adoption of 3D printing in the production of custom toys and merchandise. With thanks to Makielab and Lancaster University.
This document discusses various topics related to art and videogames, including:
1) It provides an overview of the Dada art movement and its rejection of standards and emphasis on chance and randomness.
2) It then discusses the demoscene movement, where programmers and artists create real-time graphics and music displays, seeing their work as a type of performance art.
3) The document debates whether demos should be considered a form of art and discusses their influence and role in art contexts. It suggests they comment on society through technological engagement.
Discursive Game Design or: Game Design as Cultural PracticeStefan Werning
The slides outline Discursive Game Design as a conceptual framework, that frames game design in four distinct ways: a) as cultural practice, b) as play, c) as persuasive communication, and d) as a research heuristic in its own right.
Digital heritage aims to preserve cultural heritage through virtual and immersive technologies. However, it faces several challenges:
1) Projects often fail to be robust, usable or reused as infrastructure is missing to support long-term preservation and research.
2) While new technologies can suggest new ways to engage with heritage, there is an inherent conflict with preserving heritage content over time as technologies change.
3) Virtual experiences struggle to authentically convey the emotions and significance felt when experiencing real cultural sites and objects. While technologies advance quickly, virtual heritage has not proven it can meaningfully replace encounters with real heritage.
Digital bootcamp ambulante guadalajara 15 4_2013mullighan
This document discusses transmedia storytelling and the changing digital landscape. It notes that people are now autonomous learners through the internet and can explore other cultures without traveling. It outlines trends like new technologies, behavioral changes in online consumption, and the democratization of media production. It emphasizes involving audiences and using multiple storytelling forms and platforms to engage people at different levels of participation. Transmedia is seen as a way to reflect new habits, embrace technologies, find audiences, expand creativity, and create new revenue streams.
130416 digital bootcamp_ambulante_guadalajaramullighan
This document discusses transmedia storytelling and the changing digital landscape. It notes that people are now autonomous learners through the internet and can explore other cultures without traveling. It outlines trends like new technologies, behavioral changes in online consumption, and the democratization of media production. It emphasizes involving audiences and using multiple storytelling forms and platforms to engage people at different levels of participation. Transmedia is seen as a way to reflect new habits, embrace technologies, find audiences, expand creativity, and create new revenue streams.
I did a spate of presentations that were all quite similar and this is one of them, The emphasis shifts a litle but draws on similar stimulus materials.
Arts and Technology: A Creative Alliance (ECAWA 2004)Kim Flintoff
I did a spate of presentations that were all quite similar and this is one of them, The emphasis shifts a litle but draws on similar stimulus materials.
The document discusses participatory sensing and smart cities. It describes participatory sensing as an approach where individuals use mobile devices to collect and interpret data about their world. This helps people understand reality through data and change habits. The document advocates for creating communities before building projects. It presents DreamHamar as a network design process that engaged the public. It promotes participatory mapping, open networks, and community participation and sharing to build social cohesion in smart cities.
An extended narrated version of a presentation I gave at The Pixel Lab, UK, July 2010 - http://www.powertothepixel.com/events-and-training/pttp-events/pixel-lab.
DeMarle-MFAEmergent Media at Champlain CollegeAnn DeMarle
Presentation on the implications of technology, the communications landscape and how the MFA at Champlain College in Emergent Media prepares a student for it.
New media studio 2 veerle van der sluysMADNewMedia
The document discusses new media projects that can be linked to master's students' own projects. It provides examples of new media works including interactive installations, location-based games, data visualization, and more. Students are tasked with presenting the status of their master's project, linking it to new media, and defining a possible research project within the studio to further develop new media aspects.
Generative AI, Game Development and the Future of CivilizationJon Radoff
This is my talk from Gamescom Congress in 2023: the topic is the use of generative AI in game development -- but the context is much broader. This is about the next stage of human civilization, where our minds and our creativity are extended through the use of AI tools and agents. My talk is not only about creativity, but empowerment: tools that act upon our goals and reflect our individuality.
This is a somewhat condensed and updated version of a lecture I presented at the MIT Media Lab course on Metaverse (MAS.S61).
This document lists the top 10 SSC coaching centers in Hyderabad, India. It provides the name, address, phone number, email and website for each coaching center. The coaching centers offer test preparation services for exams like SSC CGL and SSC CHSL.
This document certifies that Olof Janelöv successfully completed the 8 week online course "Inspiring Leadership through Emotional Intelligence" offered through Coursera and authorized by Case Western Reserve University. The course was completed with distinction and is verified through Coursera.
Haiku Deck is a presentation tool that allows users to create Haiku style slideshows. The tool encourages users to get started making their own Haiku Deck presentations which can be shared on SlideShare. In just a few sentences, it pitches the idea of using Haiku Deck to easily create visual presentations.
El documento contiene instrucciones para una tarea que incluye: 1) crear una portada sobre temas como identidad colectiva y globalización en México; 2) imprimir y pegar un cuadro de evaluación firmado por el tutor; 3) leer un artículo sobre cómo influye un código de ética y escribir una opinión sobre ello en la libreta. También incluye una nota para los alumnos que van a un simulador.
This document discusses the issue of food deserts in the United States. Some key points:
- Over 23.5 million US citizens live in areas over 1 mile (urban) or 10 miles (rural) from sources of affordable, healthy food. Lower income areas have 3 times fewer supermarkets than wealthier areas.
- Food deserts are linked to higher rates of obesity, diabetes, and increased costs for nutritious food. However, access to supermarkets in urban food deserts increases fresh produce intake by 32%.
- The document proposes a series of pop-up farmers markets in food desert regions between March and November, bringing local, donated produce directly to communities in need.
El documento habla sobre la interpretación de las enseñanzas de Omraam Mikhaël Aïvanhov sobre la venganza. Explica que el mal no se combate con más mal sino con comprensión y amor, y que la mejor venganza es fortalecernos interiormente con comprensión y amor para poder ayudar a quienes nos quieren hacer daño.
A doctoral research project looking at adoption of 3D printing in the production of custom toys and merchandise. With thanks to Makielab and Lancaster University.
This document discusses various topics related to art and videogames, including:
1) It provides an overview of the Dada art movement and its rejection of standards and emphasis on chance and randomness.
2) It then discusses the demoscene movement, where programmers and artists create real-time graphics and music displays, seeing their work as a type of performance art.
3) The document debates whether demos should be considered a form of art and discusses their influence and role in art contexts. It suggests they comment on society through technological engagement.
Discursive Game Design or: Game Design as Cultural PracticeStefan Werning
The slides outline Discursive Game Design as a conceptual framework, that frames game design in four distinct ways: a) as cultural practice, b) as play, c) as persuasive communication, and d) as a research heuristic in its own right.
Digital heritage aims to preserve cultural heritage through virtual and immersive technologies. However, it faces several challenges:
1) Projects often fail to be robust, usable or reused as infrastructure is missing to support long-term preservation and research.
2) While new technologies can suggest new ways to engage with heritage, there is an inherent conflict with preserving heritage content over time as technologies change.
3) Virtual experiences struggle to authentically convey the emotions and significance felt when experiencing real cultural sites and objects. While technologies advance quickly, virtual heritage has not proven it can meaningfully replace encounters with real heritage.
Digital bootcamp ambulante guadalajara 15 4_2013mullighan
This document discusses transmedia storytelling and the changing digital landscape. It notes that people are now autonomous learners through the internet and can explore other cultures without traveling. It outlines trends like new technologies, behavioral changes in online consumption, and the democratization of media production. It emphasizes involving audiences and using multiple storytelling forms and platforms to engage people at different levels of participation. Transmedia is seen as a way to reflect new habits, embrace technologies, find audiences, expand creativity, and create new revenue streams.
130416 digital bootcamp_ambulante_guadalajaramullighan
This document discusses transmedia storytelling and the changing digital landscape. It notes that people are now autonomous learners through the internet and can explore other cultures without traveling. It outlines trends like new technologies, behavioral changes in online consumption, and the democratization of media production. It emphasizes involving audiences and using multiple storytelling forms and platforms to engage people at different levels of participation. Transmedia is seen as a way to reflect new habits, embrace technologies, find audiences, expand creativity, and create new revenue streams.
I did a spate of presentations that were all quite similar and this is one of them, The emphasis shifts a litle but draws on similar stimulus materials.
Arts and Technology: A Creative Alliance (ECAWA 2004)Kim Flintoff
I did a spate of presentations that were all quite similar and this is one of them, The emphasis shifts a litle but draws on similar stimulus materials.
The document discusses participatory sensing and smart cities. It describes participatory sensing as an approach where individuals use mobile devices to collect and interpret data about their world. This helps people understand reality through data and change habits. The document advocates for creating communities before building projects. It presents DreamHamar as a network design process that engaged the public. It promotes participatory mapping, open networks, and community participation and sharing to build social cohesion in smart cities.
An extended narrated version of a presentation I gave at The Pixel Lab, UK, July 2010 - http://www.powertothepixel.com/events-and-training/pttp-events/pixel-lab.
DeMarle-MFAEmergent Media at Champlain CollegeAnn DeMarle
Presentation on the implications of technology, the communications landscape and how the MFA at Champlain College in Emergent Media prepares a student for it.
New media studio 2 veerle van der sluysMADNewMedia
The document discusses new media projects that can be linked to master's students' own projects. It provides examples of new media works including interactive installations, location-based games, data visualization, and more. Students are tasked with presenting the status of their master's project, linking it to new media, and defining a possible research project within the studio to further develop new media aspects.
Generative AI, Game Development and the Future of CivilizationJon Radoff
This is my talk from Gamescom Congress in 2023: the topic is the use of generative AI in game development -- but the context is much broader. This is about the next stage of human civilization, where our minds and our creativity are extended through the use of AI tools and agents. My talk is not only about creativity, but empowerment: tools that act upon our goals and reflect our individuality.
This is a somewhat condensed and updated version of a lecture I presented at the MIT Media Lab course on Metaverse (MAS.S61).
This is a practice-based dissertation that talks about Cinema in the Digital Age: New Financing and Distribution Models.
To explore this topic I have researched books, articles, speeches and movies of relevant authors; I have also interviewed filmmakers and entrepreneurs related to these new models of cinema financing and distribution in the digital age.
In addition I have used my own experience as a creator to produce a meta-documentary that complements this thesis, you can watch it here: https://vimeo.com/34564060
The document summarizes discussions from a Mobilities Seminar on mobile media, technology, and design for social change. It discusses locative media projects that use mobile technologies to augment urban spaces and alter how people navigate and experience cities. It provides examples of locative media art projects that have used mobile phones, text messages, and movement tracking to create interactive experiences across physical urban spaces.
SxSW is a two week festival (not a conference) where the best of tech, film, and music collide. It's the "Spring Break for Geeks," the thing you're supposed to get lost in, the way-less-serious and way-more-fun version of TED. It's the only place where you'd find all of these people in a two-week span:
- Vice President Joe Biden,
- DJ/Producer Chainsmokers,
- Billionaire investor Mark Cuban,
- Elon Musk's brother Kimble Musk
- Producer Rick Ross
- CTO of Pixar Steve May,
- Actor Seth Rogan
Can't wait for next year.
On the invitation of Belgian Minister of Foreign Affairs, Didier Reynders, conference to the Belgian diplomats in order to draw the challenges that they are facing against the emergence of Big Data, Artificial Intelligence, GAFA and BATX...
Soulitarian City: Looking for the Hacker Ethic in Glasgow by Pat Kane, The Pl...www.patkane.global
A presentation to Urban Learning Space, by Pat Kane, author of The Play Ethic (http://www.theplayethic.com), on digital identities and practices in Glasgow, Oct 19th, 2006. See http://urbanlearningspace.org/assets/events/event.php?id=238917
The document describes an art installation project titled "Stations of the Mind and Views of Global Cities." It involves creating multiple viewing stations in Detroit where participants wear a neurosensor headset to trigger augmented reality portraits of the city. Emotions detected from the sensors will scroll through videos, images and other media from Detroit and other global cities. The goal is to revive Detroit's image and place it in the context of important interconnected global cities, similar to how Piranesi's prints revived interest in Rome during its low period.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
1. Bridging
Gaps
in
the
Cultural
Economy
Dr
Tracy
Harwood
Senior
Research
Fellow
Ins?tute
of
Crea?ve
Technologies
De
MonCort
University
tharwood@dmu.ac.uk
2. Introduc?on
• Machinima
defined
• Origins
and
current
context
• Par?cipatory
culture
• Co-‐crea?on
and
the
economy
• Subversion
and
legi?macy
• Future
• Showcase
3. Machinima
Defined
• Machinima
(‘machine-‐anima?on-‐cinema’)
is
the
making
of
original
content
using
3D
computer
games
engines
and
gameplay
recorded
in
real
?me
• Performa?ve
and
playback
modes
– Perfect
capture
– Screen
capture
– Asset
composi?ng
– Bespoke
• High
performance
play,
craUsmanship
(Lowood,
2013,
Liboriussen
2013)
• Machinimators
now
draw
on
mul?plicity
of
computer
video
games,
edi?ng
and
produc?on
soUware
4. Machinima
Defined
• A
new
media
form
that
embraces
digital
literacy
through
visual
communica?on
(Merchant,
2013)
with
various
research
themes
iden?fied
–
– Mul?modality
– linguis?c
innova?on
– Remix
– Playfulness
– Par?cipa?on
– Connec?on
• Nexus
of
three
key
trends
leading
to
a
‘digital
revolu?on
(Jenkins,
2006;
2014)
–
– new
tools
and
technologies
that
enable
consumers
to
archive,
remix,
redistribute
and
edit
media
content
– subcultures
that
promote
user
generated
content
and
do-‐it-‐yourself
produc?on
– horizontally
integrated
media
channels
that
encourage
flow
of
content
and
necessitate
ac?ve
engagement
in
the
processes
of
sharing
5. ACTIVE
performance-‐based
machinima
PASSIVE
view-‐only
machinima
INTERACTIVITY
v-‐learning
(leaky
walled
channels)
walled
channels
games
channels
social
networks
COMMERCIAL
machinima
COMMUNITY
machinima
SFX
anima?on
studios
future
virtual
reality
reconstruc?on
targeted
channel
poli?cal
experimental
T&L
MOOCs
serious
games
fan
art
/
film
documentary
reportage
Art
Film
promo?onal
pre-‐visualisa?on
MONETIZATION
e-‐sports
let’s
play
6. Origins
• Demoscene
• Doom
&
Quake
>>>
FPS
• Inspired
by
films
Alien
&
Evil
Dead
II
• Cheat
codes
&
shareware
• First
recognised
machinima
in
1996
(Quake)
– Diary
of
a
Camper
(United
Ranger
Films)
– Narra?ve
based
7. &
Context
• Community
&
game
fora
• Machinima[.com]TM
• TwitchTV
–
Live
&
On-‐Demand
8. Research
• Arts
&
Humani?es
Research
Council
funded
project:
Cultural
Values
– Impacts
and
values
of
machinima
on
cultural
and
crea?ve
sectors
– Evidence
base
• Qualita?ve
design
– Netnography
– Interviews
and
focus
groups
(machinimators,
games
developers,
curators)
– Survey
(machinimators)
– Machinima
as
research
artefacts
– Par?cipant
observa?on
(2006
to
date)
machinima.dmu.ac.uk
@machinimAHRC
11. Co-‐crea?on
&
the
economy
• Highly
crea?ve,
blending
ar?s?c
and
film-‐making
skills
with
gameplay
and
computer
technologies
competences
“I
see
everybody
here
in
this
discussion
as
being
par?cipants
in
this
grand
experiment,
that
is
the
same
ongoing
experiment
since
people
were
taking
charcoal
and
putng
things
on
cave
walls
in
the
hopes
of
manifes?ng
perhaps
something
from
the
next
hunt.
We
don't
know
how
that
starts
out...
or
beads
to
decorate
a
body,
or
body
pain?ng,
or
totems,
fer?lity
symbols
and
this
urge
in
people
kind
to
create
and
live
crea?vely
and
express
themselves
crea?vely
and
impart
informa?on
in
these
different
crea?ve
ways
is
eternal
and
universal.”
(MA4,
ar?st)
12. Co-‐crea?on
&
the
economy
“I
think
that
the
pracDce
of
working
with
game
engine
worlds
and
telling
stories
in
those
worlds
and
repurposing
them
is
sDll
enormously
powerful
but
the
way
the
law
has
shiNed
and
the
way
everyone’s
aPtudes
have
shiNed
its
an
unfortunate
gheQo
and
a
dead
end
for
anyone
that
goes
into
it
because
you
are
also
limited
in
terms
of
what
you
can
do
with
those
assets.”
(MP9,
machinimator)
13. Co-‐crea?on
&
the
economy
“We're
losing
the
whole
game
culture,
the
origins
where
it
all
came
from.
Its
driving
people
away,
at
least
the
professionals
are
being
driven
away.”
(MP8,
machinimator)
“If
we
go
back
to
the
history
of
Fluxists
internaDonally
and
in
New
York...
abstract
expressionism
was
the
rage
in
New
York
and
the
uptown
galleries
were
full
of
these
super,
blue-‐chip
arDsts
who
were
making
the
top
dollar.
And
they
were
completely
uninterested
uptown
in
anything
that
any
of
the
new
people
were
doing
downtown...
So
those
arDsts
downtown
got
to
do
anything
and
everything
at
all
and
so
we
gave
rise
to
all
kinds
of
crazy
things
like
Happenings,
Intermedia,
Fluxists
and
what
we
know
now
as
Performance
Art
and
all
these
other
really
wild,
wonderful
experimentaDons
–
they
couldn't
exist
if
they
had
had
a
marketplace.”
(MA4,
ar?st)
14. Co-‐crea?on
&
the
economy
“So
there's
this
constant
sense
of...
I
wouldn't
call
it
nervousness,
but
just
awareness
that
I'm
preQy
dependent
on
a
corporaDon
or
a
company
that
I
know
nothing
about
and
have
no
impact
on.”
(MA8,
ar?st)
“There's
nobody
stopping
Google
pulling
the
plug
and
all
the
content
will
be
gone.
I
think
a
lot
of
people
do
not
realise
the
dangers
of
all
this
cultural
heritage
in
the
possession
of
just
one
corporaDon.”
(MP10,
machinimator)
“I
think
they're
rather
banal
models
at
the
moment,
like...
ads
on
YouTube.
This
is
one
thing
that
I
think
is
a
real
challenge
because
I
think
there's
a
real
lack
of
imaginaDon
in
regards
to
income
generaDon
because
in
many
ways
the
old
axiom
of
'informaDon
wants
to
be
free'
has
lead
to
the
long
tail.”
(MA3,
ar?st)
15. Co-‐crea?on
&
the
economy
“…
the
game
isn't
the
designer's
once
it's
been
done,
it's
the
players.
And
although
the
designer
is
responsible
for
sustaining
and
maintaining
it
over
Dme
and
taking
it
in
a
direcDon,
they
are
doing
so
in
the
context
of
taking
their
audience
with
them.”
(GD19,
games
developer)
“MachinimaTM
is
now
mainstream
and
once
things
become
mainstream,
like
IGN
[online
media
and
game
content
promoDon
organisaDon]
–
its
more
of
a
trailer
holding
site
than
it
is
of
being
anything
that's
remotely
ground-‐
breaking.”
(GD10,
games
developer)
16. Co-‐crea?on
&
the
economy
“In
a
nutshell,
this
enDre
system
revolves
around
markeDng,
and
YouTube
is
a
wonderful
source
of
free
markeDng…
We
wouldn't
be
able
to
show
our
work
off
without
machinima.
Its
a
terrific
way
to
show
our
game
off
and
gain
new
support!...
[YouTube]
creates
the
sort
of
symbioDc
relaDonship
that
benefits
both
the
developer
and
the
entertainer.
Exposure
guarantees
money
for
both
parDes.”
(GD16,
games
developer)
“…
there
are
elements
within
characters
that
I've
picked
up
from
watching
machinima
that
I
have
then
taken
and
put
into
one
of
my
products
where...
a
character
has
made
a
poliDcal
statement
about
Obama
Care,
for
instance.
But
he's
done
it
in
a
very
sort
of
sly
way,
like
my
character's
tripped
over
something
on
the
road
and
said
'Oh
my
god,
how
much
is
this
going
to
cost
me?'…
it
will
be
something
that
I
have
drawn
out
of
watching
a
machinima,
so
I've
taken
saDre
and
I
have
turned
it
into
something
that's
a
bit
more
tangible.”
(GD10,
games
developer)
17. Co-‐crea?on
&
the
economy
“…
these
days
games
development
companies
are
much
more,
or
way
hoQer
on
recruiDng
directly
from
dudes
who
sit
there
all
day
and
make
machinima.
The
reason
for
that
is
you
want
somebody
to
work
for
you
who
is
focussed
and
there's
nothing
more
focussed
than
siPng
there
with
your
favourite
game
and
turning
it
into
a
six
minute
short
film
or
a
three
minute
web
episode…
its
the
ones
that
are
connected
to
the
community
that
make
the
medicine
sweeter
in
games
development.”
(GD10,
games
developer)
18. Co-‐crea?on
&
the
economy
“…
somebody
probably
has
done
it
[made
an
offensive
machinima],
but
nobody
would
have
cared.
So
in
terms
of
legal
and
license
agreement
issues,
I
think
that
there's
probably
some
stuff
in
[our
EULA]
to
try
to
protect
us
from
anybody
who
wants
to
sue
because
liQle
Johnny
downloaded
some
content
that
wasn't
suitable,
that
had
been
created
by
another
user…
Generally
those
are
just
accepted
as
'that's
what
happens',
when
you
put
something
out,
the
public
react
it.
I
don't
think
we
would
ever
bother
chasing
anybody
up
like
that
unless
they
were
deliberately
masquerading
something
as
'official'.
You
know,
as
long
as
its
clearly
a
fan-‐made
thing
then
it
would
be
fine.”
(GD9,
games
developer)
“…
oNen
this
footage
is
already
in
the
public
domain,
if
you
are
playing
the
game.
You
can't
really...
copyright
is
something
that
is
being
used
by
many
people
in
the
public
domain
all
at
the
same
Dme,
it's
impossible
to
do
that…”
(GD10,
games
developer)
19. Co-‐crea?on
&
the
economy
“…
its
like
a
parallel
with
the
major
record
labels
when
they
are
acDng
ahead,
jumping
ahead
of
something
they
don’t
understand.
So
I
think
that
has
long-‐term
harmful
effects
on
both
sides…
Its
really
bonkers
when
the
law
doesn’t
keep
pace
with
what
people
want
to
do…”
(GD21,
games
developer)
“[interviewer:
the
XBox
OneTM,
I
turned
it
on
and
there
was
a
big
MachinimaTM
Dle…]
with
that
feature
our
games
are
quite
amenable
to
it
because
once
you've
played
through
the
game
and
unlocked
everything,
you've
basically
got
in
say
[xxx
game],
you've
got
nearly
200
[xxx
game]
characters
and
all
of
the
levels
are
available
and
the
open
world
hub
is
available
for
you
to
just
take...
I
suppose
in
that
respect,
even
though
we
don't
support
it
intenDonally,
its
gePng
easier
and
easier
nowadays
for
people
to
capture
fragments
from
games
and
put
stuff
together
if
they
want
to,
even
though
we
never
designed
it
that
way.”
(GD9,
games
developer)
20. Subversion
&
legi?macy
“…
if
you
haven’t
got
a
place...
somewhere
to
crystallise
the
experience,
you
won't
get
the
community
growing
from
it
–
and
I
think
this
idea
of
being
able
to
understand
the
nature
of
community
is
going
to
be
incredibly
important…
we
let
the
community
determine
that
themselves…
The
point
is,
we're
dealing
with
social
media
now
and
you
can't
follow
the
old
rules…
but
the
key
thing
is,
audience
counts.
So
knowing
who's
liked,
who's
followed,
who's
commented,
can
give
you
a
sense
of
what
the
game
is
about,
can
also
give
you
a
sense
of
what
that
person
is
about…”
(GD19,
games
developer)
“…
this
is
like
any
social
media,
it's
about
the
community
deciding
what's
good,
not
individuals
who
happen
to
be
in
power
deciding
what's
good…
there
are
these
kind
of
aPtudes
that
social
influence
should
bring
to
the
foreground,
the
values
that
are
important
around
a
topic.”
(GD19,
games
developer)
21. Subversion
&
legi?macy
“where
it
sits
in
digital,
there
are
new
types
of
vernacular
curatorial
which
don’t
need
the
profession
of
curaDng
because
these
are
largely
self
curated
communiDes...
in
terms
of
social
preferencing,
selecDng
filters
via
algorithms,
we’ve
got
a
new
world
ahead
of
us
and
machinima
fits
into
a
pioneering
form
of
that
which
is
really
interesDng...
Clearly
in
terms
of
mod
culture
or
mash-‐up
culture,
all
of
these
go
back
to
the
1930s,
as
a
form
of
construcDvism,
or
the
noDon
of
montage
through
cinema,
or
glitch
culture,
none
of
this
is
new,
but
just
in
terms
of
the
widespread
nature
of
digital
technologies
and
doing
things
within
an
online
environment,
and
sharing
online,
makes
that
pervasive.”
(CFG19,
curator)
22. Subversion
&
legi?macy
“…
the
relaDonship
between
the
audience
and
the
work
is
so
much
stronger
because
they’ve
actually
contributed
to
that
work…
people
who
had
some
reason
to
be
interested,
experts
in
art
and
interacDve
design...”
(CFG13,
curator)
you
now
have
more
arDsts
that
use
machinima
as
a
medium,
in
between
many
others,
but
you
can’t
speak
about
them
as
game
arDsts
anymore
–
its
become
more
of
a
tool
and
its
not
the
only
way
of
expression.”
(CFG16,
curator)
“we
helped
enable
xxx
to
be
able
to
get
the
funds
by
working
with
them
on
promoDonal
materials
and
lending
our
legiDmacy…
we
provide
a
very
important
public
service
that
helps
[arDsts]
because,
what’s
the
point
of
all
this
work
being
made
if
people
don’t
see
it.
So
for
us
there
is
an
arDst
service
angle
to
what
we
are
doing
but
its
through
a
mediator,
an
organisaDon
that’s
focussed
on
the
makers
and
arDsts...”
(CFG4,
curator)
24. Future
• 4
phases
of
machinima
evolu?on
– Phase
1:
Quake
Movies
(focal
period
1996-‐1999)
– Phase
2:
Academy
of
Machinima
Arts
&
Sciences
(focal
period
2000-‐2008)
– Phase
3:
Machinima.com
(focal
period
2009-‐2014)
– Phase
4:
Let’s
Play
(2014-‐ongoing)
25. Future
Phases
of
machinima’s
emergence
as
visual
culture
(Harwood,
forthcoming)
35. Our
findings…
• Appeals
to
male
and
female
crea?ves
in
all
age
groups,
including
amateur
and
professional
ar?sts
and
filmmakers
and
is
therefore
an
inclusive
medium
• Unique
cultural
form
of
crea?ve
content,
built
upon
computer
games
but
extending
their
value
beyond
play
to
crea?ve,
collabora?ve,
performance
and
viewing
prac?ces
• Transcends
a
range
of
arts
prac?ces,
encompassing
tradi?onal
and
contemporary
arts,
par?cularly
informing
and
enriching
other
new
media
arts
prac?ces
36. • Develops
the
range
of
crea?ve
competencies
in
arts
(eg.,
digital)
and
filmmaking,
including
edi?ng,
wri?ng,
produc?on,
cinematography,
set,
sound
and
character
design,
music,
applica?ons
of
new
technologies
such
as
augmented
and
virtual
reality,
and
competencies
related
to
modding,
hacking
and
mashup
• Mo?vates
and
inspires
crea?vity
and
collabora?on
with
crea?ve
industries
37. • Reaches
audiences
beyond
those
targeted
by
games
developers
and
publishers,
fes?vals,
museums
and
galleries,
which
may
be
self-‐sustaining
in
their
consump?on
of
machinima
crea?ve
prac?ces
• Contributes
to
technology
product
development
including
hardware
and
soUware
through
tes?ng
and
prototyping
eg.,
development
of
large
scale
crea?ve
works,
applica?on
of
new
technologies
• Bridges
gaps
between
community
of
prac?ce
and
the
cultural
and
crea?ve
sectors
38. Visit
our
project
website
and
follow
us
on
Twi‰er
for
discussion
and
project
report
on
research
into
the
cultural
values
of
machinima