Avriri (Hebrew: ×?וורירי ,×?וורירי הפקות, ×§×•×œ× ×•×¢ ×?וורירי) is a new movement in cinema; a group of filmmakers from Israel, wrote a manifesto titled "The Avriri Manifesto" (Tel Aviv\2006) and a declaration of principles called "The Avriri Declaration" (October 2005).
In the group's manifesto it is stated that the main principle in making movies is that the production process of a film must be an open and social event.
One other important aspect of the Avriri perception is that the distribution of films is more important than the making of them. These filmmakers claim that a distribution campaign is a constant and non-stop action that should be done by the themselves, in all forms and formats available.
Article number one in the Avriri Manifesto suggests that "the crew (director, hairdresser, producer) behind the camera may look even better than the actors in front of the camera.". Article number two determines that "the script, in accordance to the movie's production as a social event, must have plot continuity aimed at the bystanders standing on the set, rather than to the audience sitting in the movie theatre.".
In December on 2004 the group established the independent productions company called "Avriri Productions".
Group members had lectured in many High Schools, Film Schools, cultural centers and cinematheques throughout Israel, on the manifesto and their films.
On the group's website, and in interviews given by some of its members, they are naming the short film Beautiful Tamar (2005) (by Nimrod Kamer and Yuval Zuker) as the first ever Avriri style film, and Finding Inga Bloum (2006) as the second one.
On May 2006, after the release of the first Avriri Film Collection, members Yossi Atia and Itamar Rose left the group.
Other current members of Avriri are Yoav Tal, July Fermentto, Rom Barnea and Ido Gideon.
In the group's manifesto it is stated that the main principle in making movies is that the production process of a film must be an open and social event.
One other important aspect of the Avriri perception is that the distribution of films is more important than the making of them. These filmmakers claim that a distribution campaign is a constant and non-stop action that should be done by the themselves, in all forms and formats available.
Article number one in the Avriri Manifesto suggests that "the crew (director, hairdresser, producer) behind the camera may look even better than the actors in front of the camera.". Article number two determines that "the script, in accordance to the movie's production as a social event, must have plot continuity aimed at the bystanders standing on the set, rather than to the audience sitting in the movie theatre.".
In December on 2004 the group established the independent productions company called "Avriri Productions".
Group members had lectured in many High Schools, Film Schools, cultural centers and cinematheques throughout Israel, on the manifesto and their films.
On the group's website, and in interviews given by some of its members, they are naming the short film Beautiful Tamar (2005) (by Nimrod Kamer and Yuval Zuker) as the first ever Avriri style film, and Finding Inga Bloum (2006) as the second one.
On May 2006, after the release of the first Avriri Film Collection, members Yossi Atia and Itamar Rose left the group.
Other current members of Avriri are Yoav Tal, July Fermentto, Rom Barnea and Ido Gideon.
Phantasy Star Universe
Photon arts are special attacks that you may execute a your own will as long as your weapon has enough power points to use it. The photon arts ability replaces the Phantasy Star Online mag abilities such as Farilla (the serpent), Golla (the elk), and Estilla (the dolphin) along with Elemental inhanced non-rare weapons. Photon arts are weapon specific (so if you know rifle ice bullet art you cannot use it for a pistol).Photon Arts become stronger every 10 levels.
Ranger class weapons
Ranger class weapons unlike in Phantasy Star Online use up PP with each Bullet giving the gun a limited amount of consecutive shots.
list of Photon arts
Sword/Tornado break/ circular movement attack
Photon arts are special attacks that you may execute a your own will as long as your weapon has enough power points to use it. The photon arts ability replaces the Phantasy Star Online mag abilities such as Farilla (the serpent), Golla (the elk), and Estilla (the dolphin) along with Elemental inhanced non-rare weapons. Photon arts are weapon specific (so if you know rifle ice bullet art you cannot use it for a pistol).Photon Arts become stronger every 10 levels.
Ranger class weapons
Ranger class weapons unlike in Phantasy Star Online use up PP with each Bullet giving the gun a limited amount of consecutive shots.
list of Photon arts
Sword/Tornado break/ circular movement attack
Wikimusica is the name of a project by Brendan Collins for MUSI205: American Musical Mavericks. It is based on the concept of open source, which includes wiki sites and collaborative process.
Overview
The project is based around open source, a term coined to originally refer to software where the source code was available to the public. This type of software could be modified by any user to improve or change any part of it the user wanted. The term has since grown to encompass non-software processes (such as open source politics, open source journalism - or blogging - etc.). is the most famous example of the wild success of open source software.
Wikimusica takes that idea and puts it into physical shape. The concept is the same - the process of creation by consensus - except that Wikimusica is tangible, allowing users to "compose" music through physical arrangements.
There is one a possible huge glitch with wiki platforms, though - the information written is entirely up to the last user to edit the wiki. If that user wants the music to be sixteen bars of a sustained fortissimo "G" note, then so be it. However, the great thing about wikis is that they are constantly policed by good and righteous people to ensure that they stay realistic and accurate.
How to Write the Piece
Wikimusica is different than other "composed" pieces, because the music is written by potentially anyone.
The process is simple. The wiki is made of a cork board with four parallel lines of elastic string held in place by metal tacks. As well, there are four vertical elastic strings held in place the same way (metal tacks). There are a number of extra tacks, either transparent or metal, that can be used to post up the strings (any of them) in any way that the user wants.
The only caveat is that the horizontal strings must remain tacked down, but a user can move them so that they are shorter or longer. The vertical strings can be removed entirely, if the user wishes.
I placed the cork board out in Clemons Library for about three hours. I left a note saying "arrange the tacks in the cork board in any way you want, but leave the horizontal strings must always be there (but you can move them left or right). You may add or remove as many tacks as you want." That was it. I placed the board out with a "control group" arrangement of tacks, so that people would have a rough idea of what to do. The result was very different from what I'd originally put on the board.
Since almost everything about the piece is up in the air, each permutation (should) sound quite different. But the process is an organic one more often than not - the evolution of the pieces changes a little bit with each new user. I stopped in to check on it every half hour or so, and
The horizontal elastic strings are the "notes" of the music. When the piece is "complete" (i.e. when I had to notate the music), I placed homemade musical notation paper over the strings. The vertical elastic strings represent the measures, and however many tacks appear on the horizontal string in between each "measure" bar dictated the time signature (4/4, 3/4, etc.).
The dynamics of the piece were dictated by the order of tacks on each horizontal string. To do so, I designated that each transparent tack meant the dynamics shifted down one level - forte to mezzo forte, piano to pianissimo, and so forth. The metal tack shifts the volume up one level. Each piece starts out automatically at mezzo piano, for simplicity's sake.
As for the tempo, I tied it directly to the length of the horizontal strings. Unfortunately, nobody touched the horizontal string length, so all four lines of music are at the same tempo (about 80 or 90 bpm, with the quarter note getting the beat).
As for rests - they are present if there were no tacks between a set of two vertical strings. Stretches of notes were given legato bars if the notes continue to move up or down in pitch, and aren't the first note in a stretch to have changed "direction."
The time signature was designated by distance between the notes. I tended to give the quarter note the beat, just for simplicity. As for the tacks themselves, ideally I wanted like 10 different kinds of tacks (to represent 10 different musical possibilities), but Charlottesville is seriously lacking in its tack variety. I took some creative license with the notation - for instance, the final note of the piece has an accent (>) on it just to make the ending sound better. After all, aren't I part of the collaborative process too?
Instrumentation
Since the piece is a collaborative effort, it seems only right to have the instrumentation be collaborative as well. So, I propose that the piece be played with a wide variety of instruments, both mainstream and obscure - I'm thinking from trumpet to theremin. Orchestra size would be appropriate, like 80 instruments or so. Or, what you could do is have different instruments play different notes. So the really high stuff could be covered by the theremin, and the incredibly low bass could be electric bass or something.
The Music
I've attached it, in the wax paper bag from Kinko's. The different strips should be arranged from Lines 1 to 4, descending. I've also included the cork board itself, still with the original piece in place.
Overview
The project is based around open source, a term coined to originally refer to software where the source code was available to the public. This type of software could be modified by any user to improve or change any part of it the user wanted. The term has since grown to encompass non-software processes (such as open source politics, open source journalism - or blogging - etc.). is the most famous example of the wild success of open source software.
Wikimusica takes that idea and puts it into physical shape. The concept is the same - the process of creation by consensus - except that Wikimusica is tangible, allowing users to "compose" music through physical arrangements.
There is one a possible huge glitch with wiki platforms, though - the information written is entirely up to the last user to edit the wiki. If that user wants the music to be sixteen bars of a sustained fortissimo "G" note, then so be it. However, the great thing about wikis is that they are constantly policed by good and righteous people to ensure that they stay realistic and accurate.
How to Write the Piece
Wikimusica is different than other "composed" pieces, because the music is written by potentially anyone.
The process is simple. The wiki is made of a cork board with four parallel lines of elastic string held in place by metal tacks. As well, there are four vertical elastic strings held in place the same way (metal tacks). There are a number of extra tacks, either transparent or metal, that can be used to post up the strings (any of them) in any way that the user wants.
The only caveat is that the horizontal strings must remain tacked down, but a user can move them so that they are shorter or longer. The vertical strings can be removed entirely, if the user wishes.
I placed the cork board out in Clemons Library for about three hours. I left a note saying "arrange the tacks in the cork board in any way you want, but leave the horizontal strings must always be there (but you can move them left or right). You may add or remove as many tacks as you want." That was it. I placed the board out with a "control group" arrangement of tacks, so that people would have a rough idea of what to do. The result was very different from what I'd originally put on the board.
Since almost everything about the piece is up in the air, each permutation (should) sound quite different. But the process is an organic one more often than not - the evolution of the pieces changes a little bit with each new user. I stopped in to check on it every half hour or so, and
The horizontal elastic strings are the "notes" of the music. When the piece is "complete" (i.e. when I had to notate the music), I placed homemade musical notation paper over the strings. The vertical elastic strings represent the measures, and however many tacks appear on the horizontal string in between each "measure" bar dictated the time signature (4/4, 3/4, etc.).
The dynamics of the piece were dictated by the order of tacks on each horizontal string. To do so, I designated that each transparent tack meant the dynamics shifted down one level - forte to mezzo forte, piano to pianissimo, and so forth. The metal tack shifts the volume up one level. Each piece starts out automatically at mezzo piano, for simplicity's sake.
As for the tempo, I tied it directly to the length of the horizontal strings. Unfortunately, nobody touched the horizontal string length, so all four lines of music are at the same tempo (about 80 or 90 bpm, with the quarter note getting the beat).
As for rests - they are present if there were no tacks between a set of two vertical strings. Stretches of notes were given legato bars if the notes continue to move up or down in pitch, and aren't the first note in a stretch to have changed "direction."
The time signature was designated by distance between the notes. I tended to give the quarter note the beat, just for simplicity. As for the tacks themselves, ideally I wanted like 10 different kinds of tacks (to represent 10 different musical possibilities), but Charlottesville is seriously lacking in its tack variety. I took some creative license with the notation - for instance, the final note of the piece has an accent (>) on it just to make the ending sound better. After all, aren't I part of the collaborative process too?
Instrumentation
Since the piece is a collaborative effort, it seems only right to have the instrumentation be collaborative as well. So, I propose that the piece be played with a wide variety of instruments, both mainstream and obscure - I'm thinking from trumpet to theremin. Orchestra size would be appropriate, like 80 instruments or so. Or, what you could do is have different instruments play different notes. So the really high stuff could be covered by the theremin, and the incredibly low bass could be electric bass or something.
The Music
I've attached it, in the wax paper bag from Kinko's. The different strips should be arranged from Lines 1 to 4, descending. I've also included the cork board itself, still with the original piece in place.
Richard Rhyde Rhodes was born in 1916 in Tuscaloosa, Alabama to Annie and Pilcher Rhodes, both English professors at The University of Alabama, and received his education in the Tuscaloosa public schools. He won twin bachelors degrees in philosophy and mathematics from the University of Alabama in 1940. By the end of 1942, he had also earned a master’s degree in mathematics.
Mr. Rhodes immediately embarked upon a military career in the Signal Corps of the United States Army as a captain. He emerged as a colonel at war’s end. He would continue an association with army as a consultant to the end of his life. Initially assigned to a secret signal corps development unit in suburban Washington, he was part of a team to develop an advanced digital communications concept with proved instrumental in decoding the German V2 rocket program at Peenemunde, Germany near the end of the war.
After the war, Colonel Rhodes continued his education at The California Institute of Technology were he received his PhD in mathematics in 1948. Upon graduation, he was to assist Robert Noyce who was to make several breakthroughs in the new science of semiconductors. The two men were later to team up with Gordon Moore and Andy Grove to found the Intel Corporation in 1968. Dr. Rhodes sold his interest in Intel in 1991 to pursue independent research. The cash sale of his interest resulted in Dr. Rhodes being named to the Forbes list of wealthiest Americans in 1992.
Although spending most of his adult years in California, Dr. Rhodes always considered himself to be an Alabamian and returned to Tuscaloosa every year to visit his beloved University of Alabama. A lifelong bachelor, Dr. Rhodes had expressed his intention to endow the Tuscaloosa public school system with a bequest sufficient to satisfy its needs in perpetuity for research books on semiconductors.
Mr. Rhodes immediately embarked upon a military career in the Signal Corps of the United States Army as a captain. He emerged as a colonel at war’s end. He would continue an association with army as a consultant to the end of his life. Initially assigned to a secret signal corps development unit in suburban Washington, he was part of a team to develop an advanced digital communications concept with proved instrumental in decoding the German V2 rocket program at Peenemunde, Germany near the end of the war.
After the war, Colonel Rhodes continued his education at The California Institute of Technology were he received his PhD in mathematics in 1948. Upon graduation, he was to assist Robert Noyce who was to make several breakthroughs in the new science of semiconductors. The two men were later to team up with Gordon Moore and Andy Grove to found the Intel Corporation in 1968. Dr. Rhodes sold his interest in Intel in 1991 to pursue independent research. The cash sale of his interest resulted in Dr. Rhodes being named to the Forbes list of wealthiest Americans in 1992.
Although spending most of his adult years in California, Dr. Rhodes always considered himself to be an Alabamian and returned to Tuscaloosa every year to visit his beloved University of Alabama. A lifelong bachelor, Dr. Rhodes had expressed his intention to endow the Tuscaloosa public school system with a bequest sufficient to satisfy its needs in perpetuity for research books on semiconductors.