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Cultural Code : Video Games and Latin America
How culture uses games and how games use culture: an examination of Latin America's gaming practices and the representation of the region's cultures in games. Video games are becoming an ever more ubiquitous element of daily life, played by millions on devices that range from smart phones to desktop computers.An examination of this phenomenon reveals that video games are increasingly being converted into cultural currency.For video game designers, culture is a resource that can be incorporated into games; for players, local gaming practices and specific social contexts can affect their playing experiences.In Cultural Code, Phillip Penix-Tadsen shows how culture uses games and how games use culture, looking at examples related to Latin America.Both static code and subjective play have been shown to contribute to the meaning of games; Penix-Tadsen introduces culture as a third level of creating meaning.Penix-Tadsen focuses first on how culture uses games, looking at the diverse practices of play in Latin America, the ideological and intellectual uses of games, and the creative and economic possibilities opened up by video games in Latin America-the evolution of regional game design and development.Examining how games use culture, Penix-Tadsen discusses in-game cultural representations of Latin America in a range of popular titles (pointing out, for example, appearances of Rio de Janeiro's Christ the Redeemer statue in games from Call of Duty to the tourism-promoting Brasil Quest).He analyzes this through semiotics, the signifying systems of video games and the specific signifiers of Latin American culture; space, how culture is incorporated into different types of game environments; and simulation, the ways that cultural meaning is conveyed procedurally and algorithmically through gameplay mechanics.
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Digital Cultural Heritage
This book provides an overview of various application spheres and supports further innovations needed in information management and in the processes of knowledge generation.The professions, organizations and scientific associations involved are unusually challenged by the complexity of the data situation.Cartography has always been the central field of application for georeferencing digital cultural heritage (DCH) objects.It is particularly important in enabling spatial relation analysis between any number of DCH objects or of their granular details.In addition to the pure geometric aspects, the cognitive relations that lead to knowledge representation and derivation of innovative use processes are also of increasing importance.Further, there is a societal demand for spatial reference and analytics (e.g. the extensive use of cognitive concepts of "map" and "atlas" for a variety of social topics in the media).There is a huge geometrical-logical-cognitive potential for complex, multimedia, digital-cultural-heritage databases and stakeholders expect handling, transmission and processing operations with guaranteed long-term availability for all other stakeholders.In the future, whole areas of digital multimedia databases will need to be processed to further our understanding of historical and cultural contexts.This is an important concern for the information society and presents significant challenges for cartography in all these domains. This book collects innovative technical and scientific work on the entire process of object digitization, including detail extraction, archiving and interoperability of multimedia DCH data.
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Code Corporation CODE READER KIT - CR1500
Code Corporation CODE READER KIT - CR1500
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Code Corporation CODE READER KIT CR2100
Code Corporation CODE READER KIT CR2100
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What is a cultural heritage?
Cultural heritage refers to the traditions, customs, beliefs, and artifacts that are passed down from generation to generation within a society. It encompasses the tangible and intangible aspects of a culture, including historical sites, monuments, art, music, language, and rituals. Cultural heritage plays a crucial role in shaping a community's identity and preserving its unique heritage for future generations. It is an important part of a society's history and contributes to its sense of belonging and continuity.
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Is Louis Vuitton authentic even without the code?
Yes, Louis Vuitton products can still be authentic even without the code. While the code can be a helpful tool in verifying the authenticity of a Louis Vuitton item, it is not the only indicator. Authentic Louis Vuitton products will also have high-quality materials, precise craftsmanship, and attention to detail. Additionally, purchasing from authorized retailers or directly from the Louis Vuitton website can also ensure the authenticity of the product.
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Is Louis Vuitton authentic even without a code?
Yes, Louis Vuitton products can still be authentic even without a code. While some Louis Vuitton items may have a date code or serial number for authenticity verification, not all products from the brand have this feature. Authenticity can also be determined through other factors such as the quality of materials, craftsmanship, and overall design details that are consistent with the brand's standards. It is always recommended to purchase Louis Vuitton items from authorized retailers or directly from the brand to ensure authenticity.
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Is the Drachenschanze a German cultural heritage site?
Yes, the Drachenschanze is considered a German cultural heritage site. It is a historic site in the Harz Mountains that has been preserved and protected due to its cultural significance. The Drachenschanze is a medieval fortification that played a role in the region's history, making it an important part of Germany's cultural heritage. Its historical and architectural significance has led to its recognition as a cultural heritage site in Germany.
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Code Corporation CODE READER KIT CR2700
Code Corporation CODE READER KIT CR2700
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Code Corporation CODE READER KIT - CR6000
Code Corporation CODE READER KIT - CR6000
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Code Corporation CODE READER KIT - CR950
Code Corporation CODE READER KIT - CR950
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Cultural Heritage and the Future
Cultural Heritage and the Future brings together an international group of scholars and experts to consider the relationship between cultural heritage and the future. Drawing on case studies from around the world, the contributing authors insist that cultural heritage and the future are intimately linked and that the development of futures thinking should be a priority for academics, students and those working in the wider professional heritage sector.Until recently, the future has never attracted substantial research and debate within heritage studies and heritage management, and this book addresses this gap by offering a balance of theoretical and empirical content that will stimulate multidisciplinary debate in the burgeoning field of critical heritage studies. Cultural Heritage and the Future questions the role of heritage in future making and will be of great relevance to academics and students working in the fields of museum and heritage studies, archaeology, anthropology, architecture, conservation studies, sociology, history and geography.Those working in the heritage professions will also find much to interest them within the pages of this book.
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Is Drachenlord and the Drachengame considered German cultural heritage?
Drachenlord and the Drachengame are not officially recognized as German cultural heritage. While they may have gained a following and become a notable part of internet culture in Germany, they do not hold the same status as traditional cultural elements such as literature, music, or art that are typically associated with being part of a country's cultural heritage. Additionally, the controversial nature of Drachenlord and the Drachengame may make it less likely to be officially recognized as cultural heritage.
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Is the Drachenlord and the Drachengame German cultural heritage?
The Drachenlord and the Drachengame are not considered German cultural heritage in the traditional sense. They are more of a modern internet phenomenon that has gained popularity in certain online communities. While they may have a following and be part of contemporary German internet culture, they do not hold the same historical or cultural significance as traditional German heritage sites or practices.
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Is Code Geass pronounced Code Giess or Code Giass?
The correct pronunciation of Code Geass is "Code Giass." The "ea" in Geass is pronounced as a long "i" sound, similar to the word "glass." Therefore, it is not pronounced as "Code Giess."
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What is the error code Q-Code?
The Q-Code is a system of three-letter codes used in amateur radio communication to represent common phrases or questions. Each code begins with the letter Q, followed by two additional letters. These codes are used to save time and clarify communication, especially in situations where signal strength may be weak or background noise is high. The Q-Code system is widely used by amateur radio operators around the world.
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