They differed in only one important respect: structure of organization.īecause in Sears terminology all stores in both groups were "B" stores, for purposes of the study one group was labeled "X" and the other "Y." Stores in the X group had a simple type of organization structure with a minimum number of staff and supervisory employees. In number of employees they ranged from a low of 96 to a high of 113. They were of similar size, carried the same lines of merchandise, and were located in communities of comparable size and demography. They were carefully chosen for comparability in all respects but one. In order to secure factual information on this question, two groups of midsize stores were selected for study. observed in some stores to increase the number of persons in staff and supervisory positions. One of the specific problems the study addressed was that of payroll expense. In the aftermath of a sharp but temporary downturn of sales in 1949, the national personnel department of Sears, Roebuck undertook a study of how representative store mangers were coping with the problems of falling sales and profits and what could be learned from their experience. 338) observed, MP3 audio files rapidly gained a new ''cult following based on a sense of freedom.'' The rhetoric of piracy surrounding MP3s transformed a rather mundane process of ''accessing data'' into an ''enticingly risqué'' activity (p. In some cases, the illegality of piracy contributes to the appeal of unauthorized copies online. However, the rhetoric of piracy has not eliminated the use of unsanctioned file-sharing networks or ''pirated'' MP3s in the everyday activities of music fans and amateur musicians. An army of lawyers, lobbyists, industry consultants, and public relations personnel reinforced the ''illegality'' of online ''piracy'' and thus cleared the path for the commercial distribution of music online (McCourt & Burkart, 2003). Although the rhetoric of piracy contradicts legal principles and economic evidence, it has been adopted by policy-makers and jurists around the world (Rice, 2002 Yar, 2005). Since the closure of the highly publicized Napster case in 2001, copyright owners have used the rhetoric of ''piracy'' to equate unauthorized copying on the Internet with theft. This cultural logic generates a new kind of amateur musicianship based on pluralistic listening and the reorganization of the relations that constitute musical recordings. Several fields of practice shape this cultural logic, including ''virtual studios,'' online message boards, dance clubs, and the market for ''underground'' and ''unofficial'' remixes. The study focuses on the logic that guides the development of works, styles and reputations in mash-up culture. This essay traces the logic of mash-up culture, an online music scene in which practitioners use audio-editing software to splice and combine pop songs encoded in MP3 format to produce hybrid or ''mashed-up'' recordings. The thesis concludes that asset flip, as a term, is inadequate in describing video games like the two examples, and that the proposed term Prefabbashing is appropriate and useful in the field of video game discussion, based on its ability to accommodate projects made from this aesthetic practice. This is achieved through an exploratory literature search on appropriation art, remix culture, mashups and kitbashing, an examination of two video games, Getting Over It by Bennett Foddy and Oikospiel by David Kanaga, as well as an interview with developer Bennett Foddy. In this, the term prefabbashing is proposed as descriptive of projects like the two examples, defined as an aesthetic practice. This thesis aims to explore the term asset flip, as well as examine two projects that share similarities in methods of production but are not exposed to the stigma following the label. These are often dismissed by the player communities as being asset flips, implying that they are a lazy or minimal effort attempts at generating a profit. This has caused an increase in video games that are made mostly or entirely from these prefabs. Most video game engine development environments allow its users access to a warehouse of prefabricated assets available to use as building blocks to create a video game.
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