Sentences with phrase «art and entertainment form»

He is an outspoken advocate for pushing the boundaries of design and interactivity, so that games will achieve their full potential as this century's premiere art and entertainment form.

He is an outspoken advocate for pushing the current boundaries of design and interactivity, so that games will achieve their full potential as this century's premiere art and entertainment form.

Not exact matches

Like any form of art or entertainment, TV runs the gamut from the horrendous to the sublime, and with only a little initial channel - surfing in the name of research, you can learn to enjoy the medium guilt - free and eventually advance to using your former nemesis for the betterment of your children.

Michael O'Sullivan has covered the arts for The Washington Post since 1993, contributing reviews and features on film, fine art, theater and other forms of entertainment to Style and Weekend.

I am the first one to defend video games as both a legitimate entertainment medium and progressing and viable art form.

Bruce Kawin addresses the book not just to students of film but to any filmgoer curious to know more about the process of the conception and creation of our favorite entertainment and art form.»

«The pursuit of the art of storytelling in its purest form was what drew us to Sundance,» said Rohit Khattar, director of Mumbai Mantra, Mahindra's media and entertainment satellite.

«In Electricomics, the world's oldest narrative art form and youngest technology combine as a uniquely 21st century medium, establishing a thought - through toolkit of open - source effects enabling its audience to create digital comics themselves, bringing their vital ideas to an exciting new mode of entertainment and education.»

She writes literary fiction, which she equates to opera and she compares genre fiction to chart music as though it's just entertainment rather than an art form in itself.

FUN is a collective of arts performers, producers and event - all - sorts with vast skills, knowledge and experience in various forms of art and entertainment.

Downtown: Downtown Baton Rouge Arts & Entertainment District was formed in 2008 to provide a means for growth and development through arts and entertainment activitArts & Entertainment District was formed in 2008 to provide a means for growth and development through arts and entertainmenEntertainment District was formed in 2008 to provide a means for growth and development through arts and entertainment activitarts and entertainmententertainment activities.

Our association with the Tribeca Film Festival is an extension of our ongoing efforts to support production of popular entertainment and celebrate its art form.»

Bill Gates: ««Halo» is truly a cultural phenomenon, and the launch of «Halo 3» is an important milestone for Xbox 360 and for video games as entertainment and as an art form.

Over the years I've read a lot of videogame related books, usually in the form of art books which also offer some insights into a game's development, and have to say that this is one of the better ones, sitting just below the rather excellent Aberstergo Entertainment Employee's Handbook, which was a wonderful meta work, written as though it was a genuine handbook from within the Assassin's Creed universe and thereby providing some stellar information and providing a great companion to Assassin's Creed: Unity.

Technically formed in 2009, En Masse Entertainment is comprised of several members who have previously worked for companies such as Blizzard, Microsoft, NCSoft, and Electronic Arts, including Warcraft / Starcraft contributor Patrick Wyatt.

Their mission is «to promote and advance the worldwide interactive entertainment community» while enhancing «awareness of the interactive art form.»

We have a deep passion for gaming, animation, and all forms of arts & entertainment.

Game developers are currently shaping the future of interactive entertainment, and creating the first masterpieces of a new art form.

Game creators are currently shaping the future of interactive entertainment, and creating the first masterpieces of a new art form.

Interactive entertainment is today's most compelling art form and shares the same creative freedom as books, television, and movies.

Founded in collaboration with the Academy of Motion Picture Arts and Sciences in 1929 over 87 years ago, the USC School of Cinematic Arts has fueled and mirrored the growth of entertainment as an industry and an art form.

While interactive entertainment has captivated audiences for more than 40 years, we're only just beginning to see the vast potential of today's most immersive and dynamic art form.

Video games (in our opinion) are one of the most expressive and diverse (entertainment wise) forms of art out there.Yes, We think that video games are considered art.

The studio's games might be divisive, but its impact reaches out further than just gaming in the broader appreciation of games as a form of visual art and entertainment.

Influenced by both the avant - garde performance of artists like Vito Acconci and Richard Foreman as well as forms of popular entertainment, particularly stand - up comedy, Michael Smith has been cultivating his own idiosyncratic brand of performance art since the late 1970s.

Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Höller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blArt Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blart and entertainment increasingly blur.

In 1986 he formed Vulcan Inc., his private company which oversees all his philanthropic and business activities including but not limited to Vulcan Aerospace, Vulcan Capital, Vulcan Real Estate, Vulcan Productions, Vulcan Philanthropy, the Paul G. Allen Family Foundation, the Seattle Art Fair, Upstream, as well as sports teams, research institutes, museums and arts and entertainment venues.

Bemoaning the divide between the art world and artists, he continues: «alot of people are interested in art as a form of entertainment or as a one - liner.

Born 1982, Auckland, New Zealand Education 2009 Meisterschule, Städelschule HFBK, Frankfurt am Main 2005 BFA, Elam School of Fine Arts, University of Auckland Solo exhibitions 2018 «Games of Decentralized Life» Galerie Buchholz, Cologne 2018 «The Founder's Paradox», MOCA Museum of Contemporary Art, Cleveland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «Shenzhen Entrepreneurial Form», Fine Arts, Sydney 2017 «FaaS — Feedback as a Service: Reflecting on messaging, debate and criticality inside a parliamentary discussion on internet governance», Bozar, Brussels 2017 «Simon Denny: Real Mass Entrepreneurship», C2 Space, OCT - LOFT, OCAT Shenzhen 2017 «Hammer Projects: Simon Denny», Hammer Museum, Los Angeles 2016 «Secret Power», Museum of New Zealand Te Papa Tongarewa, Wellington 2016 «Blockchain Future States», Petzel Gallery, New York 2016 «Business Insider», WIELS, Brussels 2015 «Products for Organising», Serpentine Sackler Gallery, London 2015 «Secret Power», New Zealand Pavilion, 56th Venice Biennale 2015 «The Innovator's Dilemma», MoMA PS1, New York 2014 «The Personal Effects of Kim Dotcom», Adam Art Gallery, Victoria University, Wellington 2014 «New Management», Portikus, Frankfurt am Main 2014 «The Personal Effects of Kim Dotcom», Firstsite, Colchester 2014 «TEDxVaduz redux», T293, Rome 2014 «Disruptive Berlin», Galerie Buchholz, Berlin 2013 «The Personal Effects of Kim Dotcom», mumok, Wien 2013 «All You Need is Data — The DLD 2012 Conference REDUX rerun», Petzel Gallery, New York 2013 «All You Need is Data — The DLD 2012 Conference REDUX», Kunstverein München 2012 «Full Participation», Aspen Art Museum, Aspen 2012 «Envisaging Vocational Rehabilitation» (with Joanna Fadyl), Westfälischer Kunstverein, Münster 2011 «Corporate Video Decisions», Friedrich Petzel Gallery 2011 «Corporate Video Decisions», Michael Lett, Auckland 2011 «Cruise Line», NAK Neuer Aachener Kunstverein, Aachen 2011 «Chronic Expectation: CFS / ME Documentary Restoration», T293, Rome 2011 «7 Unreachable Elevators», IMO, Copenhagen 2010 «Negative Headroom: the broadcast signal intrusion incident», Contemporary Art Museum, St. Louis 2010 «Negative Headroom: the broadcast signal intrusion incident», Halle Für Kunst, Lüneburg 2010 «Remote Tutorial: hate poems for travelers», Landings Project Space, Vestfossen 2010 «Introductory logic tutorial video», Artspace, Sydney 2009 «Celebrities» houses at night: a projection», Standard Oslo, Oslo 2009 «Starting from behind», Michael Lett, Auckland 2009 «Deep Sea Vaudeo», Galerie Daniel Buchholz, Cologne 2009 «Watching Videos Dry», T293, Naples 2009 «7 Drunken Videos `, Luettgenmeijer, Berlin 2008 «Aquarium Paintings (with Nick Austin)», Center, Berlin 2008 «Ruined by Sheer Confidence», Caribic Residency, Frankfurt am Main 2008 «Alexandra Bircken / Simon Denny», Ursula Blickle Stiftung, Kraichtal 2008 «Recent Haircuts», Uplands Gallery, Melbourne 2008 «Recent Haircuts», Gambia Castle, Auckland 2007 «Compression Club», Michael Lett, Auckland 2007 «Monthly Cowards», Gambia Castle, Auckland 2007 «Paltry Motion», Dunedin Pubic Art Gallery, Dunedin 2006 «Old Entertainment System», Window, Auckland 2006 «Scape», Art & Industry Biennial, Christchurch 2006 «Old Things», Michael Lett, Auckland 2005» Arranging Sympathies», Volume Series, The Physics Room, Christchurch

Some of our notable entertainment and media attorneys are: John Quinn, General Counsel of the Academy of Motion Picture Arts and Sciences, who has also represented entertainment and media clients in a number of high profile cases; Kathleen Sullivan, the former Dean of Stanford Law School, First Amendment scholar, and nationally renowned appellate advocate, who heads the firm's appellate practice group; Bob Raskopf, an expert in the sports, entertainment and media bars in New York, who is perhaps best known for his work on behalf of professional sports leagues and teams, newspapers and publishers; Claude Stern, who has represented a broad array of leading software developers, videogame manufacturers, online publishers and other media clients in all forms of intellectual property litigation, including copyright, patent, trade secret, trademark, and licensing disputes; Bruce Van Dalsem, who has tried and resolved disputes for studios, producers and performing artists in the film, television, music and finance businesses, securing a top five verdict in California based on the misappropriation of a film library; Gary Gans, an expert litigator in motion picture financing, production and distribution disputes, as well as copyright and idea theft cases, who has been named in 2012 by The Hollywood Reporter as one of America's «Top Entertainment Attorneys;» Jeff McFarland, who has litigated entertainment related cases for more than 20 years, including cases involving motion picture and television series profits, video game licenses, idea theft and the «seven year rule;» and Michael Williams, who represents a satellite exhibitor and other media clients in trademark, copyright, patent, antitrust and other commerciaentertainment and media attorneys are: John Quinn, General Counsel of the Academy of Motion Picture Arts and Sciences, who has also represented entertainment and media clients in a number of high profile cases; Kathleen Sullivan, the former Dean of Stanford Law School, First Amendment scholar, and nationally renowned appellate advocate, who heads the firm's appellate practice group; Bob Raskopf, an expert in the sports, entertainment and media bars in New York, who is perhaps best known for his work on behalf of professional sports leagues and teams, newspapers and publishers; Claude Stern, who has represented a broad array of leading software developers, videogame manufacturers, online publishers and other media clients in all forms of intellectual property litigation, including copyright, patent, trade secret, trademark, and licensing disputes; Bruce Van Dalsem, who has tried and resolved disputes for studios, producers and performing artists in the film, television, music and finance businesses, securing a top five verdict in California based on the misappropriation of a film library; Gary Gans, an expert litigator in motion picture financing, production and distribution disputes, as well as copyright and idea theft cases, who has been named in 2012 by The Hollywood Reporter as one of America's «Top Entertainment Attorneys;» Jeff McFarland, who has litigated entertainment related cases for more than 20 years, including cases involving motion picture and television series profits, video game licenses, idea theft and the «seven year rule;» and Michael Williams, who represents a satellite exhibitor and other media clients in trademark, copyright, patent, antitrust and other commerciaentertainment and media clients in a number of high profile cases; Kathleen Sullivan, the former Dean of Stanford Law School, First Amendment scholar, and nationally renowned appellate advocate, who heads the firm's appellate practice group; Bob Raskopf, an expert in the sports, entertainment and media bars in New York, who is perhaps best known for his work on behalf of professional sports leagues and teams, newspapers and publishers; Claude Stern, who has represented a broad array of leading software developers, videogame manufacturers, online publishers and other media clients in all forms of intellectual property litigation, including copyright, patent, trade secret, trademark, and licensing disputes; Bruce Van Dalsem, who has tried and resolved disputes for studios, producers and performing artists in the film, television, music and finance businesses, securing a top five verdict in California based on the misappropriation of a film library; Gary Gans, an expert litigator in motion picture financing, production and distribution disputes, as well as copyright and idea theft cases, who has been named in 2012 by The Hollywood Reporter as one of America's «Top Entertainment Attorneys;» Jeff McFarland, who has litigated entertainment related cases for more than 20 years, including cases involving motion picture and television series profits, video game licenses, idea theft and the «seven year rule;» and Michael Williams, who represents a satellite exhibitor and other media clients in trademark, copyright, patent, antitrust and other commerciaentertainment and media bars in New York, who is perhaps best known for his work on behalf of professional sports leagues and teams, newspapers and publishers; Claude Stern, who has represented a broad array of leading software developers, videogame manufacturers, online publishers and other media clients in all forms of intellectual property litigation, including copyright, patent, trade secret, trademark, and licensing disputes; Bruce Van Dalsem, who has tried and resolved disputes for studios, producers and performing artists in the film, television, music and finance businesses, securing a top five verdict in California based on the misappropriation of a film library; Gary Gans, an expert litigator in motion picture financing, production and distribution disputes, as well as copyright and idea theft cases, who has been named in 2012 by The Hollywood Reporter as one of America's «Top Entertainment Attorneys;» Jeff McFarland, who has litigated entertainment related cases for more than 20 years, including cases involving motion picture and television series profits, video game licenses, idea theft and the «seven year rule;» and Michael Williams, who represents a satellite exhibitor and other media clients in trademark, copyright, patent, antitrust and other commerciaEntertainment Attorneys;» Jeff McFarland, who has litigated entertainment related cases for more than 20 years, including cases involving motion picture and television series profits, video game licenses, idea theft and the «seven year rule;» and Michael Williams, who represents a satellite exhibitor and other media clients in trademark, copyright, patent, antitrust and other commerciaentertainment related cases for more than 20 years, including cases involving motion picture and television series profits, video game licenses, idea theft and the «seven year rule;» and Michael Williams, who represents a satellite exhibitor and other media clients in trademark, copyright, patent, antitrust and other commercial litigation.

Winners and honorees of the Shorty Awards were selected by members of the Real Time Academy of Short Form Arts & Sciences, comprised of experts in advertising, media, entertainment, and technology.