A manual for teaching consonants and vowels in speech and reading(kindergarten and primary grades).

Thesis (Ed.M.)--Boston Universit

Blowtooth: a provocative pervasive game for smuggling virtual drugs through real airport security

In this paper we describe a pervasive game, Blowtooth, in which players use their mobile phones to hide virtual drugs on nearby airline passengers in real airport check-in queues. After passing through airport security, the player must find and recover their drugs from the innocent bystanders, without them ever realizing they were involved in the game. The game explores the nature of pervasive game playing in environments that are not, generally, regarded as playful or “fun”. This paper describes the game’s design and implementation as well as an evaluation conducted with participants in real airports. It explores the players’ reactions to the game through questionnaire responses and in-game activity. The technologies used in Blowtooth are, intentionally, simple in order for the enjoyment of the game to be reliant more on the physical environment rather than the enabling technologies. We conclude that situating pervasive games in unexpected and challenging environments, such as international airports, may provide interesting and unique gaming experiences for players. In addition, we argue that pervasive games benefit most from using the specific features and nature of interesting real-world environments rather than focusing on the enabling technologies

New Toys for Boys

In \u27Out of Time: Reflections on the Programming Life\u27, Ellen Ullman writes that a senior (male) engineer once asked her why she left full-time engineering for consulting. She replied that she found the engineering culture very \u27teenage-boy puerile\u27. The engineer replied to the effect that such loss of talent was too bad

Bulletin of the Center for Children's Books 18 (11) 1965

published or submitted for publicatio

The impact of Nintendo’s "for men" advertising campaign on a potential female market

In order to emphasize the maturation of their hand-held console and increase its appeal to an adult market, Nintendo's UK advertising campaign for the Game Boy Advance SP drew explicitly upon 'lad' culture and a tongue-in-cheek appropriation of cologne advertising. In this campaign, the lead and most prominent promotional advert for the device used an image of the Game Boy with the tagline "For Men". This paper outlines why Nintendo's decision to present the Game Boy as a male accessory prompted exploration into its potential impact on the female market. Much of the emerging research field examining female participation in game cultures had at that point tended to focus its attention on exploring the experiences of different female groups with a variety of software titles and its associated communities. In contrast, this paper addresses participants' perceptions of the gaming industry and its relevance to them as a (potential) consumer by taking a hardware device as its focus. This was achieved by conducting a series of focus groups, with a range of both experienced and inexperienced female game players, during which participants were asked to engage with the hand-held device and experience both its single and networked game-play capabilities with the game Legend of Zelda. The findings address participants' awareness and views on the extent to which gaming is coded male and its ramifications for their participation in game cultures

Spartan Daily, November 15, 1943

Volume 32, Issue 27https://scholarworks.sjsu.edu/spartandaily/10833/thumbnail.jp

Spartan Daily, March 12, 2014

Volume 142, Issue 19https://scholarworks.sjsu.edu/spartandaily/1479/thumbnail.jp

Hitchcock and humor : a study in collaborative authorship

text“Hitchcock and Humor: a Study in Collaborative Authorship” presents three case studies that examine how Hitchcock’s humor, a critical component of his touch, fluctuates and varies in accordance with his collaborators and his creative control. The first collaboration addressed involves Hitchcock’s dealings with producer David O Selznick on both Rebecca (1940) and Spellbound (1945). By tracing each film through its initial treatments to its final screenplay, the each man’s individual contribution comes to light and explains why Rebecca lacks the humor required for the full Hitchcock touch whereas Spellbound does provide comic moments. Under Selznick, Hitchcock first established a working relationship with actor Cary Grant. The two would continue to collaborate as the years went on and made four films together in all: Suspicion (1941), Notorious (1946), To Catch a Thief (1955), and North by Northwest (1959). In each subsequent film Hitchcock’s methods of humor mesh more with Grant’s screwball persona culminating in a Hitchcock classic full of funny moments. Along with Hitchcock’s wit and Grant’s physical comedy, North by Northwest owes a debt of gratitude to its screenwriter Ernest Lehman who created the original script simply out of sketches of characters and moments. The third case study examines the humor in Frenzy (1972). While Hitchcock’s recent films had failed to reproduce the Hitchcock touch for an uncharacteristic lack of humor, Frenzy is laced with tongue-in-cheek action. The story was based on Arthur La Bern’s novel Goodbye Piccadilly, Farewell Leicester Square (1972) and was adapted to the screen by playwright Anthony Shaffer to create what many call Hitchcock’s return to form. These case studies reveal that the inclusion of humor in Hitchcock’s films comes about when Hitchcock has the freedom away from the pressures of the studio and studio heads to assert his creative control with the collaborators and films of his choosing, preferably collaborators whose aesthetics compliment his own, and preferably films whose genre allows for generous tongue-in-cheek.Radio-Television-Fil