"All Right: Where Am I?" Looney Tunes Animation As Modernist Performance
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By Evans, Alex  Replete with modernist tropes, Chuck Jones's 1953 cartoon, Duck Amuck, dramatizes that most pressing of modern preoccupations-the often-threatening relationship between the body and its environment.
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It's Reg vs Rollo Do pets eventually resemble their owners? Or do owners get to look like their pets? It's heck of a conundrum - but one we might now be a little closer to solving. For the past fortnight it's been hard to escape the animated faces of "Joan", or "George" the graphical representations of what we're told is a new breakthrough in Artificial Intelligence. TV and newspapers, both highbrow and lowbrow, have flocked to report on the chatterbot. You can talk to Joan (or George) - the output of the British software project Jabberwacky - and think it's human!â¦
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New software synchronizes Research In Motion devices with Mac OS X.
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Ready for takeoff More modern, more art
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Tycho:  In case you are wondering, cats apparently need regular maintenance, like cars.  And, like an oil change, this juicing process can be done (I'm told) at home, preferably with the curtains drawn and a couple inches of sawdust laid down.  That's right: you can wring out your own cat's asshole.  This is the kind of helpful information you can expect when you visit Penny Arcade.  Don't everybody run home at once.    I've been playing a lot of Prism on the DS, even though the Zelda cartridge seems to squeal as I remove it.  I understand there's some kind of Ghost Ship?  I forget all of my cares, and also the cares of Princess Zelda, once those beams begin to refract.    They've ginned up some ridonculous crap about light eating space monsters to support their gameplay, which is very solid, and requires no extraterrestrial photophiles.  It's a puzzle game.  When I put pieces of a puzzle together, I never think about how alone each piece must feel, longing only to congregate with similarly knobbed partial images.  So, discard that.  Discard also the truly nasty presentation, no doubt a result of hard time done in already the Mobile and PC Casual markets.  Part these imperfections like tall savannah grass, and gaze into the game's rich core:  the creation of sometimes very complex circuits.     Inside each puzzle grid, the player is given some combination of Light Emitting Entities, Reflective Mirrors, Splitters, or Prisms.  You must jigger the aforementioned until light of the correct colors is distributed to targets around the edge of the field.  That's it, and the fun comes from how complicated this process can become.  There are quite a few cooperative puzzles as well - where each player has access to half the grid, and they must work together to route everything.  If you try this mode - and I request that you do so, as you only need one (1) cartridge and a willing accomplice - I recommend that you each turn your DS sideways, so that the UI is along the bottom.  That will make it so that "left" and "right" and "up" and "down" all mean the same thing to each of you.  Trust me, you want this.  The game is hard enough without the horror of fully relative terms.    Prism actually taught me something fairly significant about why I play games, and I think it's because the gameplay is so clean and the presentation so spartan that I could pick up on it.  I like games that generate communication.  This is why team-based shooters, roleplaying games, and tactical games are my delight - every one of these entails a suite of custom language to describe it, they require constant dialogue, and, most importantly, all other things being equal these games can be won by the efficient use of language.  Working out puzzles together in Prism has a strong logic component, but in large part the challenge was communicating ethereal notions succinctly.    I suppose this is also why I torment you here, thrice weekly: even when playing a game by myself, I am harvesting the experience so that it may be reconstituted here.  So, thank you for reading.  You dignify my leisure hours.          The Playstation 3 in the office has been more than acceptable for playing the sometimes short, often bad games that have arrived on it - but this holiday, with the titles to prove out the claim, I had to "get mine" in the bawdy parlance of the young.  What tipped my hand wasn't the four hundred dollar system on offer, rather, it was the three hundred and seventy nine dollar model.  These are probably mostly a mail order proposition, but any of those rare twenty gig models the platform launched with got bumped down by the new price.  It's inexpensive by PS3 standards, but it's positively cheap for a Blu-Ray device.  Now fully franchised, flexing all the rich benefits of Sony citizenship, you may expect me to be even more brutal in my critique.
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Western knockoffs and Islamic bling: Debunking some popular stereotypes of life in Iran.
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A discussion of how to use frame styles in OOo Writer.
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Revolutionary or unreadable? The long, strange afterlife of David Foster Wallace's Infinite Jest
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A month ago I was introduced to the works of Michel Gondry.  In short, I was amazed and tantalized by his short films and music videos.  Even if you haven't heard of him, you've probably seen his many works in Gap commercials, various music videos, and the recent movie Eternal Sunshine of the Spotless Mind.    Many of his works explode with visual elements that, when taken alone, are simple and mundane.  However, under his masterful guidance, these elements come together to form a highly mesmerizing visual experience.  He never ceases to push visual technologies and challenge our ideas about the visual medium.
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For Mark Botwin, itâs always been a vision thing. As an undergraduate psychology major, he was fascinated by the study of visual perception in children. As a young optometry school graduate, his instincts lured him away from traditional practice. But throughout his career, the Mac has been his computer of choice: âitâs a lifelong commitment.â
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A THREE-DAY course in digital computer animation runs at Coventry's Herbert art gallery from Monday to Wednesday (10am to 4.30pm.) The course is suitable for those aged over 16 with basic computer literacy.  It costs pounds 150 (pounds 75 concessions).
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After decades of hype, interactive television is now pouring into American living rooms. But how much do viewers really want to interact?
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Ray Harryhausen, the renowned stop-motion animator who turned 87 in June, adds a bit of color to some of his work.
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The films of Pixar are radical in their advanced animation techniques and digital rendering. The studio has topped even itself in the shadowy Paris quays, the bright, bustling kitchens and the humanistic expressions of its furry star in its new "Ratatouille."
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Tycho:  Rhythm games aren't my forte, but I have a lot of inbuilt experience with meter which helps me fake it until I can build genuine skill.  And, as rhythm elements have crept into the entire medium, Tycho stock has been in a boom phase.  It's understandable, then, that while I soar and illuminate - and Gabriel sputters, bound to earth - tensions related to my prowess have begun to burn red-hot.  That is, until they cool again.  These things have a way of working themselves out in the fullness of time.          There's an incredible article over at Wired this month (and possibly also in the magazine?) about the Bungie's psychological approach to game design.  What a tremendous challenge it must be to retain authorial control in such a case!  As someone whose output is rarely screened by any agency, the whole thing gave me chills.  The right to fail nobly in a creative endeavor (as we sometimes do) is such a powerful luxury.  No such luxury may be extended to them, upon whose toil an entire platform rests.  God keep me from such a fate.          I keep hearing that Metroid Prime 3: Corruption isn't being promoted very well, but the person saying this always seems to know about it, and then when people share this complaint in the thread those people also seem to be "in the know."  It ships on the twenty-seventh of August, if you weren't aware - but since you almost certainly are, we needn't dwell on it.  What we should be dwelling on are the series of teaser vids that Retro has been trickling out.  Metroid's largely mysterious heroine has always been a huge draw for me, and going into deep detail about the character would actually damage the mystique.  But the universe she operates in need not be vague, which is why these clips are such a rich meal:  there's the Aurora Unit trailer that modernizes ancient Metroid canon in a classy way, and there's a treat at the end of the Valhalla trailer that ties it all together.  They both cover a setting that has gotten darker and more sophisticated, tones we don't typically associate with Nintendo.       We like to get kicks in on the post-Harmonix Guitar Hero, partly based on their "wacky" multiplayer concept - which ordinary gamers will probably love - but also out of a sort of tribal loyalty.  This having been established, they've built an authentically heroic tracklist that really has a lot of beef.  Going from the most recent Rock Band announcement out of Leipzig, both versions appear to have Radiohead's "Creep" and the Beastie Boys' "Sabotage," which is something of a comfort.  After seeing different songs on each game from Metallica and The Rolling Stones, I wasn't sure if they were already traveling down the catalogues securing exclusive weaponry.  I hope that the labels in this case see the old wisdom of arming both sides.
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The three titans of Japanese animation are all about to unleash monster new films. Watch your back, Shrek. By Charles C. Mann from Wired magazine.
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Tycho:  Orcs and Elves for the DS has a fairly strong mobile heritage, which is to say that some of its presentation is a little two-frame and raw.  If you crave gold and adventure - a common affliction among our people - I think you'll slip past it, and into the retro dungeon crawler at its heart.  It's been reviewed much better on the mobiles than it has been on the portable, but I imagine that people who review games that you play on a phone have a more forgiving palette.