Amateur-to-amateur

Copyright, it is commonly said, matters in society because it encourages the production of socially beneficial, culturally significant expressive content. Our focus on copyright's recent history, however, blinds us to the social information practices that have always existed. In this Article, we examine these social information practices, and query copyright's role within them. We posit a functional model of what is necessary for creative content to move from creator to user. These are the functions dealing with the creation, selection, production, dissemination, promotion, sale, and use of expressive content. We demonstrate how centralized commercial control of information content has been the driving force behind copyright's expansion. All of the functions that copyright industries once controlled, however, are undergoing revolutionary decentralization and disintermediation. Different aspects of information technology, notably the digitization of information, widespread computer ownership, the rise of the Internet, and the development of social software, threaten the viability and desirability of centralized control over every one of the content functions. These functions are increasingly being performed by individuals and disaggregated groups. This raises an issue for copyright as the main regulatory force in information practices: copyright assumes a central control requirement that no longer applies for the development of expressive content. We examine the normative implications of this shift for our information policy in this new post-copyright era. Most notably, we conclude that copyright law needs to be adjusted in order to recognize the opportunity and desirability of decentralized content, and the expanded marketplace of ideas it promises.

Theater program for Meg's Diversion

Theater program: Meg's Diversion, date and cast of play, produced by Thespian Sociable.

Theater ticket

Ticket for benefit to aid the Home for Aged and Infirm Hebrews.

Características antropométricas, condición física y velocidad de lanzamiento en balonmano de élite y amateur

166 p.

Pilotari profesional eta amateur-en artej??ko neurri antropometrikoen ezberdintasunak eta amateurren kapatzio eta prestakuntza

Hiru pilotari profesional eta beste hiru pilotari amateurren arteko alderakuntza antropometriko eta fisikoari buruzko ikerketa. Horretaz gain, pilotari amateurrentzako hautatze eta formakuntza proiektua egin dut, Nafarroako federazioan oinarrituta.

Drama und theater in der fremd- und zweitsprachenlehre: Blick zurück nach vorn

Zwischen dem Bereich Drama/Theater und dem Bereich Fremdsprachenvermittlung gibt es seit jeher Verbindungslinien. Zumindest war der Lehrer immer schon ein Akteur, der den Schülern etwas so ‘vorzuspielen’ versuchte, dass die Aufmerksamkeit des Lernerpublikums gebannt blieb; und eigentlich haben Lehrer und Schüler im fremdsprachlichen Unterricht immer schon ‘Theater’ gespielt, indem sie so taten, als ob die Unterhaltung in der fremden Sprache für sie natürlich sei. Der folgende Beitrag zeichnet wichtige Entwicklungsetappen des Brückenbaus zwischen den Bereichen Drama/Theater und Fremd-/Zweitsprachenlehre seit Mitte des 19. Jahrhunderts nach. Es wird davon ausgegangen, dass ‘Drama und Theater in der Fremd-/Zweitsprachenlehre’ sich nunmehr als eines der vielen Anwendungsfelder etabliert hat, die mit dem Fach- und Sammelbegriff ‘Applied Theatre’ erfasst werden. Der Begriff bezieht sich auf das breite Spektrum von Individuen, Gruppen und Institutionen, für die das Theater als Kunstform nicht reiner Selbstzweck ist, sondern zentraler Bezugspunkt und Inspirationsquelle für drama-/theaterbezogene Aktivitäten. Durch solche Aktivitäten sollen im jeweiligen Anwendungsfeld ganz bestimmte Ziele erreicht werden, im Falle des fremd- und zweitsprachlichen Unterrichts z.B. sprach-, literatur- und kulturbezogene Ziele. Dieser Beitrag versteht sich als kompakte Bündelung und insbesondere Aktualisierung von Überlegungen, die erstmalig in meinem Buch Fremdsprache inszenieren (1993) erschienen sind. Zur Ergänzung dieses kompakten Überblicks sei auf die umfangreiche Forschungsbibliographie auf der Homepage dieser Zeitschrift verwiesen. Zum Konzept ‘Applied Theatre’ vgl. z.B. Ackroyd 2000; Taylor 2003; Nicholson 2005

MUSICAL THEATER AND THE CLASSICAL VOICE: CROSSOVER SINGING IN THE TWENTIETH CENTURY

This dissertation explores the transformation of opera comique (as represented by the opera Carmen) and the impact of verismo style (as represented by the opera La Boheme) upon the development of operetta, American musical theater and the resultant change in vocal style. Late nineteenth-century operetta called for a classically trained soprano voice with a clear vibrato. High tessitura and legato were expected although the quality of the voice was usually lighter in timbre. The dissertation comprises four programs that explore the transformation of vocal and compositional style into the current vocal performance practice of American musical theater. The first two programs are operatic roles and the last two are recital presentations of nineteenth- and twentieth- century operetta and musical theater repertoire. Program one, Carmen, was presented on July 26, 2007 at the Marshall Performing Arts Center in Duluth, MN where I sang the role of Micaela. Program two, La Boheme, was presented on May 24,2008 at Randolph Road Theater in Silver Spring, MD where I sang the role of Musetta. Program three, presented on December 2, 2008 and program four, presented on May 10, 2009 were two recitals featuring operetta and musical theater repertoire. These programs were heard in the Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center in College Park, MD. Programs one and two are documented in a digital video format available on digital video disc. Programs three and four are documented in a digital audio format available on compact disc. All programs are accompanied by program notes also available in digital format.

Marie Sallé, Handel, Rameau and the development of narrative dance music:Bericht vom Internationalen Symposium an der Hochschule fur Musik und Theater Leipzig

Paradigmatic analysis reveals that these two composers developed distinct responses to creating narrative in dance music

Fine arts edutainment: the amateur painter

A new scheme for painterly rendering (NPR) has been developed. This scheme is based on visual perception, in particular themulti-scale line/edge representation in the visual cortex. The Amateur Painter (TAP) is the user interface on top of the rendering scheme. It allows to (semi)automatically create paintings from photographs, with different types of brush strokes and colour manipulations. In contrast to similar painting tools, TAP has a set of menus that reflects the procedure followed by a normal painter. In addition, menus and options have been designed such that they are very intuitive, avoiding a jungle of sub-menus with options from image processing that children and laymen do not understand. Our goal is to create a tool that is extremely easy to use, with the possibility that the user becomes interested in painting techniques, styles, and fine arts in general.

Almanach des gourmands : servant de guide dans les moyens de faire excellente chère / par un vieil amateur

Variante(s) de titre : Almanach des gourmands, ou Calendrier nutritif

Almanach des gourmands : servant de guide dans les moyens de faire excellente chère / par un vieil amateur

1810 (A7).

Almanach des gourmands : servant de guide dans les moyens de faire excellente chère / par un vieil amateur

1808 (A6).

Almanach des gourmands : servant de guide dans les moyens de faire excellente chère / par un vieil amateur

1806 (A4).

Almanach des gourmands : servant de guide dans les moyens de faire excellente chère / par un vieil amateur

1803 (A1).