By Maré Odomo
"a phone-friendly PDF, gathering 2 hundred pages of comics and drawings from 2010-2012, to elevate cash for my webhosting. . . comprises comics approximately games, ladies, and junk nutrients and noodles. And nature and going domestic and adorable sons and daughters~ . . Drawn in Seattle, San Jose, San Francisco, los angeles, long island, and the Baltimore/DC sector. most likely another areas too. . . 2 hundred pages for $10 = five cents in step with web page. That's no longer undesirable, correct? . . hugely suggest that you simply learn this in your telephone, on a bus, on a chilly day, with espresso on your different hand. Or in mattress, below the covers, in case you can't fall sleep. 3rd choice: the rest room, whereas you're doin' stuff."
Converted from the Gumroad PDF.
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Liveness and individual creativity remain particularly important in the world of rock music, where live performance “certifies” the authenticity of recordings and visual artifacts; rock listeners “are tolerant of studio manipulation only to the extent that they know or believe that the resulting sound can be reproduced on stage by the same performers” (Auslander 1999:76, 82). 1). These games index both a revival of musica practica and a host of anxieties about inauthentic musicality and mindless consumerism.
Ludologists concern themselves with the unique properties of games as distinct from narrative texts, including their variable outcomes and the effort they require from players. Juul’s definition foregrounds the qualities important to ludologists: “A game is a rule-based system with a variable and quantifiable outcome, where different outcomes are assigned different values, the player exerts effort in order to influence the outcome, the player feels emotionally attached to the outcome, and the consequences of the activity are negotiable” (2005:36).
These latter variables are backgrounded, though they can be used (or not) strategically by people if and when they choose” (Gee 2004:85). This is not to say that questions of identity are irrelevant to the practices addressed in this book; to the contrary, racial representation and gendered performance are key themes. However, rather than undertaking deep fieldwork in a single localized community and exploring how individuals negotiate and perform identities within that community, I have structured my inquiry around the “common interests, endeavors, goals, or practices” that define affinity spaces: play, performance, experimentation, interpretation, teaching, and learning.