text:
Most Anticipated of 2013: Andrew's Picks
The editorial team at Shacknews outlines their most anticipated games of 2013 individually. Next up, we've got senior editor Andrew Yoon with his list of 2013 titles.
There's a lot to be excited for in 2013, and the Shacknews staff each have five games on their radar. The editorial team at Shacknews outlines their most anticipated games of 2013 individually. Next up, we've got senior editor Andrew Yoon with his list of next year's titles.
First off, let me just say that any game that was in my list for 2012 that didn't come out yet is disqualified. Sorry, BioShock Infinite and Ni no Kuni. I still want you for all the same reasons.
The Last of Us
The Last of Us made quite an unexpected debut at the VGAs. Coming fresh off the release of Uncharted 3, my first reaction was: "oh, that's why Uncharted 3 wasn't all that great." Yes, it's a cynical response, but UC3 failed to live up to the expectations of UC2. Perhaps it was the rushed development cycle, or the lack of surprise in Drake's third adventure.
With much more time poured into The Last of Us, and a new setting and tone unlike anything we've seen from Naughty Dog so far, I can't help but be cautiously optimistic for this zombie apocalypse.
DmC: Devil May Cry
I still don't understand the outrage at Dante's new look. (How is it "more gay" than this?) And while I can understand fears surrounding new developer Ninja Theory, I think Capcom's made a smart decision to reboot the franchise. Yes, Heavenly Sword was rather mediocre, but given it was a launch title on a notoriously difficult platform to work on, I think that can be overlooked. The team's next effort, Enslaved, was one of the most overlooked gems of this generation. With Capcom's internal team providing feedback, I feel like DmC: Devil May Cry can focus the obvious talent at the Cambridge studio and make something truly special.
Giving the franchise a reboot is really a no-lose situation for fans, too. Best case scenario: we get a Devil May Cry game that's fresh and full of surprises, unlike Devil May Cry 4. Worst case scenario: we can just play through Devil May Cry 3 again.
Beyond: Two Souls
Heavy Rain has not a perfect game. In fact, it was terribly flawed. Yet, I can't help but appreciate what it tried to do. While gamers have recently complained about the lack of meaningful choice in Mass Effect 3 and even The Walking Dead, Heavy Rain made good on its promise of offering a truly interactive narrative. In the weeks following Quantic Dream's release, gamers everywhere shared their stores, many wildly different from each other.
Beyond: Two Souls takes the spirit of Heavy Rain and addresses its main flaws head-on. Namely, having a talented actress like Ellen Paige should alleviate some of the issues we had with the performances in Quantic Dream's last game. Add a revamped graphics engine, a humbled David Cage, and a rather unique premise, and this could be PS3's other swan song.
Pikmin 3
The original Pikmin was good. But Pikmin 2 was extraordinary, offering a distinctly Nintendo take on the RTS genre. If there's any genre that can fully take advantage of Wii U's touch-screen GamePad, it's strategy. The long-awaited Pikmin 3 doesn't need to do much: it just needs to incorporate some intuitive touch controls into an already-solid gameplay formula. Nintendo will have to go out of their way in order to screw this up, and I just don't see that happening.
Not much is known about Media Molecule's first Vita game. But, there's good reason to be excited: Tearaway is the studio's first original IP since graduating from LittleBigPlanet. If anyone can figure out a "killer app" for Sony's struggling handheld, it's going to be this team.
Oh, and Persona 5...
Andrew Yoon posted a new article, Most Anticipated of 2013: Andrew's Picks.
The editorial team at Shacknews outlines their most anticipated games of 2013 individually. Next up, we've got senior editor Andrew Yoon with his list of 2013 titles.


text:
Wednesday, November 29, 2006
Composers struggle under Shostakovich regime
Latvia is one of the so called A8 countries from central and eastern Europe which joined the EU in 2004, the others are Poland, Hungary, Czech Republic, Slovakia, Lithuania, Estonia and Slovenia. The A8 countries should be joined by Bulgaria and Romania in January 2007, although Bulgaria has a few money laundering and related problems to sort first - it has been said that Bulgaria isn't a country that has a mafia, but a mafia that has a country. Latvia is located on the Baltic between Estonia and Lithuania, and shares eastern borders with Russia and Belarus. The USSR annexed Latvia in 1940, and the country only regained its independence following the break-up of the Soviet Union in 1991. The last Russian troops left in 1994, and ten years later Latvia joined both the EU and NATO. The official language is Latvian, but 38% of the population speak Russian, and the ethnic and cultural diversity is shown by the mix of Lutheran, Roman Catholic, and Russian Orthodox among the countries religions. Latvia's turbulent past and current EU membership have created an extensive diaspora, and there is a large migrant Latvian community working in agriculture here in East Anglia where I write this article.
Peteris Vasks was born in western Latvia in 1946. His father was a minister of the Church, and the religious intolerance of the occupying Soviets forced the family to move south to Lithuania where he attended the musical academy in Vilnius. He returned to his country of birth to play in Latvian orchestras, and then took up a teaching career in the Latvian capital, Riga, which continues today. His musical vocabulary is influenced by Witold Lutoslawski, Krzysztof Penderecki and George Crumb, and his unique style incorporates aleatoric techniques. Vasks is an important modern composer as he is one of the select group of eastern European composers who have successfully developed a nationalist style without compromising their contemporary vocabulary; others include Arvo Pärt (Estonia), Giya Kancheli (Georgia), Gyorgy Kurtag (Hungary) and Henryk Górecki (Poland), and interestingly four out of those five come from the A8 countries.
Not a single note of Vask's music was included in the 2006 BBC Proms season. Rectify this by listening to four minutes of Anthony Marwood and the Academy of St Martin in the Fields playing Peter Vasks: Concerto for Violin and String Orchestra ('Distant Light') - Mosso - Cadenza II -
* As I upload this article the news breaks that BBC Chairman of two years Michael Grade is unexpectedly leaving to move to commercial rival ITV. As Grade has presided over a wholesale lowering of programme standards at the BBC, and is going to troubled ITV, where the programme standards are already the subject of universal derision, it is difficult to know what to think. Perhaps the rumoured £2m ($3.8m) salary renders thought superfluous?
Now read about the Roma - the forgotten Holocaust victims
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9 comments:
- Pliable said...
Today's Michael Grade development puts Norman Lebrecht's grasp of BBC politics into perspective.
Just last week Lebrecht blustered;
The view from the top floor of Broadcasting House is that Radio 3 represents the Reithian ideal of informing, entertaining and elevating the nation. It is the flagship of any political bid to secure a new Charter and license fee. Michael Grade would sooner lose the National Lottery than dumb down Radio 3.
Well Norman, Grade didn't dumb down the flagship - he jumped ship altogether.
- 5:37 pm
The presentation and reception of Shostakovich and his work in the West has always been carefully managed, a rare example of close cooperation between the Soviet cultural apparatus and Western commerce. This is a topic that certainly deserves further study.
One wonders in this particular case if Shostakovich's publishers have now promoted that body of work at the expense of other, living composers in their catalog. This would make, of course, perfect business sense, as those scores are capital with a limited shelflife, and maximizing income opportunity from those scores now is better for the current account than risking an investment in newer scores that may never return that investment.
- 1:04 am
- Garth Trinkl said...
..."Western commerce" ...
Daniel, I believe that it was more than Western commerce that was involved in the reception in the United States [and 'Europe'?] of Shostakovich's wartime symphonies -- especially his Leningrad symphony, which I imprecisely recall had a long circuitous route on microfilm from Leningrad and Leningrad's evacuation zone of Alma-Aty to Philadelphia for its first American (or Western?) performance. I believe that more than 'Western' publishers were involved.
I actually thought of Shostakovich and his Leningrad symphony last Sunday when we (for the first time) visited Washington, D.C.'s new Soviet-style World War Two Memorial, on the National Mall.
Among the great Atlantic battles engraved on the Atlantic Eagle-garbed pylon was the Allied 'Battle of Murmansk', in the far north of Europe.
I have to run, but perhaps someone can begin to do this far better justice (and also solve the latest political assasination in London).
- 1:36 pm
I was thinking specifically of the establishment of Shostakovich's wider reputation through strategically placed premieres and recordings in the 1960's. It is my understanding -- and I may well be wrong about this -- that a number of these recordings and performances were subsidized by the Soviet Union, for example through guaranteed sales of records.
- 3:08 pm
- Pliable said...
Daniel, very interesting thread that opens up.
Melodiya - the Russian state record label
Gosconcert - the Russian state concert agency that controlled movement of Soviet artists outside Russia, and Western artists visiting the USSR.
You are right Daniel, both had a heavy influence on the development (or otherwise) of Russian artists.
I had some peripheral involvement with both via EMI.
I hope this thread is developed by other contributors.
- 3:33 pm
- Garth Trinkl said...
I recall that Boris Schwarz in his "Music and Musical Life in Soviet Russia, 1917-70" (London, 1972) talks about the cold war official cultural exchanges between the U.S. and the Soviet Union that involved Shostakovich, Copland, Harris, Sessions, and several others. (Pliable or others can talk about the U.K. or British Commonwealth - Soviet exchanges.)
I recall from Schwarz's book that in the 1950s and 60s, composers from the non-Moscow Soviet composers' unions, such as those in Leningrad [Petersburg] and Kiev [Kyiv] -- and composers such as Part, Ustvolskaya, Silvestrov, Hrabovsky, Kancheli, and others -- certainly felt slighted by these official cultural exchanges. Some of these now prominent (though still underexposed in the 'West' and I assume much of the post-Soviet states, as well) composers were working in menial jobs at the time of the official, non-commercial exchanges; and their names could only be whispered out of hearing of the establishment composers and their backers.
- 3:59 pm
- Garth Trinkl said...
"...Shostakovich's wider reputation through strategically placed premieres and recordings in the 1960's..."
Daniel, perhaps you or someone else should also look into, and compare, this to the premieres and recordings of works by Penderecki and Lutoslawki in the 1980's (all of Lutoslawki's three late Symphonies were commissioned by different major American orchestras).
Furthermore, Rostropovich had a huge role in the introduction of large amounts of Eastern European new music in "the West" in the late 1970s, 80s, and early to mid 90s; and I don't believe that 'Western commerce' informed all of his programming decisions.
(When I heard violist John Graham, and his colleague, give the American premiere of Shostakovich's very late Viola Sonata, at Miller Theater, Columbia U., in Jan or Feb 1977, I don't recall specific commercial backing, or an immediately available, follow-up LP. And Daniel, I will assume that you have viewed Sokurov and Aranovitch's film, Sonata for Viola, on Shostakovich. That poetic film was censored upon its initial release in Leningrad in 1980 or 81.)
- 4:24 pm
- Guthry Trojan said...
I apologise for dumbing-down the tone of debate, but after reading,
"As Grade has presided over a wholesale lowering of programme standards at the BBC, and is going to troubled ITV, where the programme standards are already the subject of universal derision, it is difficult to know what to think." - and seeing this - I can't help wondering when the last person at Radio 3 will be asked to turn out the lights.
- 10:31 pm
- Pliable said...
And yet more on what Lebrecht described as 'the Reithian ideal of informing, entertaining and elevating the nation from
The Rambler.
- 10:50 pm

subset: commoncrawl


text:
As great as it might be to see, say, the mirror scene from "Citizen Kane" in 3-D, the film somehow has endured the last 70 years without any special effects – other than groundbreaking cinematography and direction.
While we don't expect the psychologically complex Charles Foster Kane to turn up in additional physical dimensions anytime soon, brace for a potential new spate of fiddling with classics, following the huge success of the 3-D rerelease of "The Lion King."
The new version of the Disney classic is a master stroke: The movie's visual majesty lends itself to 3-D treatment and the move gives generations too young to have seen the 1994 film in theaters an opportunity to catch it on the big screen, where it belongs.
But we're a tad concerned the success of the rerelease could beget a vicious circle where other films are hastily and unwisely converted to 3-D in grab for box office bucks. James Cameron, who used 3-D motion capture technology to brilliant effect in "Avatar," is converting "Titanic," which is at least his own film. Ditto for George Lucas, who is planning 3-D rereleases of the "Star Wars" films. Most fans will be probably be satisfied as long as he avoids any more pointless scene changes destined to make purists scream, "Nooooooo!"
We're already seeing signs, though, of the trend toward 3-D conversions moving with an undue need for speed. The Los Angeles Times notes that "Top Gun" is slated for a 3-D do-over, which strikes us as odd for a 25-year-old movie whose lasting popularity likely has less to do with action sequences than unintentional camp.
The last-minute conversion of Tim Burton's visually arresting "Alice in Wonderland" didn't work as well as it might have because he shot the film with 2-D intentions. We cringe when thinking about a possible 3-D overhaul of his film's most powerful influence, "The Wizard of Oz" (a movie reported to be due for a reboot or two). Would the Land of Oz loom any grander in the collective imagination if the Wicked Witch of the West seemed to ride her broomstick into the audience?
"Citizen Kane," of course, was at the center of the colorization battles of the 1980s. We expect – or at least hope – there will be similar debate as Hollywood studios dip into back catalogues for runs through the digital 3-D machine. There's an art to filming in black and white as much as there is in making movies in a mere two dimensions. The value of introducing older films to new audiences and a given flick's suitability for conversion need to be weighed carefully against possibly changing the movie's meaning or impact, through a loss of subtly or a shift in emphasis of the visual storytelling.
We'll humbly suggest that before taking on any more conversion projects, media moguls, our current-day Charles Foster Kanes, take a good look in the mirror.
Hester is founding director of the award-winning, multi-media NYCity News Service at the City University of New York Graduate School of Journalism. He is the former City Editor of the New York Daily News, where he started as a reporter in 1992. Follow him on Twitter.


text: So that's how we live our lives. No matter how deep and fatal the loss, no matter how important the thing that's stolen from us–that's snatched right out of our hands–even if we are left completely changed, with only the outer layer of skin from before, we continue to play out our lives this way, in silence. We draw ever nearer to the end of our allotted span of time, bidding it farewell as it trails off behind. Repeating, often adroitly, the endless deeds of the everyday. Leaving behind a feeling of immeasurable emptiness.


text:
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At Altenburg Piano, we understand that a piano is far more than just a beautiful musical instrument to grace your home. Playing the piano can bring joy to life in unexpected ways. It can be the key to a healthier life and a better education for children. By providing outstanding piano products, services and music education offerings, Altenburg Piano has helped bring the joy and power of music to countless families in the local region.


text:
Money for scholarship fund to train engineers
Hatch donates $250,000 to Laurentian University
Hatch announced Wednesday a $250,000 commitment to Laurentian University over five years.
The donation will provide a scholarship fund for undergraduate and graduate students enrolled in the university's Bharti School of Engineering.
With accredited programs in mining, chemical and mechanical engineering, the Bharti School of Engineering is recognized as a top producer of engineering talent in Canada, as well as a global leader in mining research and education.
Collaborations with local, provincial, national and international partners, and industry leaders enhance the student experience and create opportunities for mutual benefit, officials said Wednesday.
"We are so thankful that Hatch has taken this approach to student support, giving our engineering students an excellent opportunity to hone their leadership capabilities and focus in on their career interests," Markus Timusk, director of the Bharti School of Engineering, said in a release.
Hatch celebrates 30 years in Sudbury in 2019. This latest partnership with Laurentian University, in addition to summer employment opportunities, is part of Hatch's commitment to the development of tomorrow's leaders.
"At Hatch, we strive for real partnerships with our clients and with the communities in which we work," Bruce MacKay, Hatch's regional managing director for western North America, added. "We're excited to be able to give back to the Sudbury community while supporting the next generation of engineers."


text:
Originally posted by Henri
I don't think the distinction between what refers to the character of the
author and what refers to some feature suposedly shared among Germans is
that neat. Was he really making a completely random, unrelated statement
about Germans, only to carry on with whatever he had in mind immediately
after? Like, you know spanish woman have moustache and I like Phoronix
forums? I don't think so. Actually, I had read those sentences in the
same way Blackstar had before he (inaccurately) quoted them in the forum.
Anyway, my partner is an expert on racism questions. She tells me
it would be a stretch to consider that a racist remark. Not because
some prejudice about Asians and Europeans is common place, or
because some cultural differences as was suggested before, but because
there is not enough material to know what the position of the author
really is. If he had made explicit, for instance, that Germans are direct
in constrast to, say, French, that would be OK because there isn't an
asymmetric power relation between those peoples. If Germans were direct as
opposed to Turks, and a positive value were assigned to directness (which
normally is) we could start talking about something. Since I won't find a
more informed opinion than hers on the whole internet, I retract my
comment about those words.


text:
One New Identity Theft Victim Every 3 Seconds in 2012
As major U.S. companies fall victim of a steady campaign of cyber hacking recently linked to the Chinese government, a new report shows consumers are increasingly battling another problem: identity theft.
Continue Reading Below
The Javelin Strategy & Research's 2012 Identity Theft Report shows there was a new victim of identity fraud once every three seconds in 2012. What's more, 1 in 4 consumers who received a data breach notice from a company also became a victim of identity theft.
More than 12 million victims had more than $21 billion stolen over the year, according to the report. Breaches involving Social Security numbers were the most damaging to victims, with those who have their number breached 5X more likely to be a victim of fraud than the average consumer.
The total number of identity theft victims for 2012 was 12.6 million, up more than one million since 2011. The dollar amount stolen also increased to $21 billion.
The increase in security breaches has led consumers to be more selective about where they shop. The report found traffic to small businesses is dramatically impacted after a breach, with 15% of all fraud victims deciding to change their behaviors and avoid smaller online merchants.
Companies are rectifying breach situations more quickly than in the past, shortening the amount of time fraudsters can abuse information, the report also finds. Consumer information was misused for an average of 48 days in 2012, down from 55 days in 2011 and 95 days in 2010.
"We have to keep up with fraudsters faster," says Jim Van Dyke, CEO of Javelin. "The degree to which new account fraud is up sharply as well, and that is the most damaging form of ID fraud."
This means fraudsters are using personal information to open new accounts—and it's hard for consumers to monitor and close accounts they don't know about. More than 50% of victims were actively detecting fraud using financial alerts, credit monitoring or identity protection services, as well as by monitoring their accounts, according to the report.
"Take any [new] letters or notices as a call for alarm," Van Dyke says. "People are reacting just the opposite; they think they can rest easy."
Another reason consumers may miss a blip on their records is because fraudsters are cobbling together bits of data from multiple sources, according to Tim Rohrbaugh, vice president of Information Security for Intersections.
"Synthetic IDs and those combinations are a real problem." Rohrbaugh says. "When you've been notified by an institution that they have lost your information, you're 4X more likely to be a victim of fraud. This is information consumers should be reacting to."


text:
Under and by virtue of the power of sale and in accordance with the terms of a certain Deed to Secure Debt from JIMMY LEE GAY, JR., Grantor, to First National Bank n/k/a FNB SOUTH, Grantee, dated March 10, 2004; recorded in Deed Book 387, Page 763-769, APPLING County, Georgia records and extended January 7, 2010, recorded in Deed Book 464, page 671-672, Appling County, Georgia records; there will be sold by the undersigned at public outcry, during the legal hours of sale, before the Courthouse door in APPLING County, Georgia, on the first Tuesday in April, 2011, to the highest bidder for cash, the following described property:
All that tract or parcel of land situate, lying and being in the Second Land District of Appling county, Georgia, being 3.0 acres, more or less, of original Land Lot No. 348, and being bounded as follows: North by lands of Mickey Aldridge; East by County Road 78; South by County Road 80; and West by lands of Mickey Aldridge. Said tract of land being more particularly described on a survey and plat thereof by Merlin J. Tomberlin, GRLS No. 2477, dated June 8, 1999, and said plat being recorded in the Office of the Clerk, Superior Court, Appling County, Georgia in Plat Book 15, page 62, and incorporated herein by reference thereto.
The debt secured by said Deed to Secure Debt and any renewal thereof has been and is hereby declared due and payable in full because of default pursuant to the terms of said debt and the Deed to Secure Debt securing same. Notice has been given of intention to enforce collection of attorney's fees and foreclosure in accordance with the terms of the debt, the Deed to Secure Debt, and as provided by law.
The person that has full authority to negotiate, amend, and modify all the terms of the Deed to Secure Debt with the Debtor is Darnell Stone, FNB South, 198 W Parker St, Baxley, GA 31513, 912-367-0200. Please understand that the secured creditor is not required by law to negotiate, amend, or modify the terms of the Deed to Secure Debt or Note.
Terms: Cash. Purchaser to pay for title, State of Georgia real estate transfer tax and all taxes that may be due on said real property. Sale is subject to restrictions and easements of record.
423 W 12th St
Alma, GA 31510
as Attorney in Fact for
3-9, 3-16, 3-23 & 3-30ch
gpn11 NOTICE OF SALE UNDER POWER STATE OF GEORGIA COUNTY OF APPLING
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To make this oversized space feel comfortable for a large family, the designers combined earthy materials like reclaimed wood and handmade terracotta tiles with more traditional elements like the white painted cabinets. The Silestone counters were selected with durability in mind and the cabinets were customized to the specific needs of the homeowners. Fixtures: Circa Lighting; Prouve dining chairs: DWR
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Tropical Villa Exterior and Driveway
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