![]() They deserve our recognition and appreciation. Members of the Committee are Ken Yanagisawa, MD (Chair) Samantha Anne, MD, MS Michael J. This is a very important and difficult task. The AAO-HNS thanks members of the Nominating Committee for their careful and meaningful deliberation of nominees. Nominating Committee (Private Practice – seat two) Nominating Committee (Private Practice – seat one) Nominating Committee (Academic – seat two) Nominating Committee (Academic – seat one) Check back in April when the candidate statements are available ahead of the ballot that opens in May for you to cast your vote for the future leadership of the Academy. Please review the official slate of candidates. ![]() High School and Undergraduate Student Programs.International Corresponding Societies (ICS). ![]() Resident Travel Grant Humanitarian Trips.Section for Residents and Fellows-in-Training.Certificate Program for Otolaryngology Personnel Course.Early Hearing Detection and Intervention (EHDI).Template Appeal Letters and Advocacy Statements.Centralized Otolaryngology Research Efforts (CORE).TNM Staging Guide for Head and Neck Cancer.FLEX – Focused Lifelong Education Xperience.Oral, Head and Neck Cancer Awareness Week.But we can only make this connection after we analyses in detail how the aesthetics and the very logic of moving images changed during this period. Although it may seem presumptuous to compare political and aesthetics transformations simply because they share the same non-violent quality, as we will see in the later article, the two revolutions are actually related. Therefore, this series of articles is subtitled Velvet Revolution in moving image culture. To emphasize the gradual, almost invisible pace of the transformations which occurred in moving image aesthetics between approximately 19, I am going to appropriate the term Velvet Revolution to refer to this transformations. In the case of Czechoslovakia, this event came to be referred as Velvet Revolution – to contrast it to typical revolutions in modern history that were always accompanied by bloodshed. In the 1989 former Soviet satellites of Central and Eastern Europe have peacefully liberated themselves from the Soviet Union. While narrative features mostly stick to live cinematography and video shot by ordinary people with consumer video cameras and cell phones is similarly usually left as is, everything else – commercials, music videos, motion graphics, TV graphics, and other types of short non-narrative films and moving image sequences being produced around the world by the media professionals including companies, individual designers and artists, and students – are hybrid. Today this language dominates our visual culture. This article is a first part of the series devoted to the analysis of the new hybrid visual language of moving images that emerged during the period of 1993-1998. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media." What was the thinking and motivations of people who in the 19s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. ![]() Offering the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. From the publisher: "Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts.
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