Need For Speed NFS Carbon Collectors Edition Repack Mr DJ Free Download
Gene Honnette
I have Need for Speed, Carbon, PC DVD's and I am trying to install it on my computer. I got to the part where it asks for installation code numbers, but I don't have them because I lost the booklet or whatever that had that on it. How can I get that or get around that? It was put out by EA. The full name is Need for Speed Carbon, Collector's Edition. I have Windows7, is this software compatible with Win 7? Please reply to [edit: email removed]
I installed need for speed carbon but it won't work. I tried to uninstall but it won't let me. It says in can't find the EA install.dll. It says a reinstall might help fix the problem. Please help. Is there no longer any support for this?
Need For Speed NFS Carbon Collectors Edition repack Mr DJ free download
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Hi i bought the need for speed carbon second hand when i installed the game it came up with a cd key number to put in i did and it told me cd key had been used so cant play the game i love the game put what can i do to get a new cd key to activate the game again please i would bge grateful for this info,
PLEASE CAN SOMEONE HELP AS I AM NOT ABLE TO PLAY MOST OF THE GAMES I HAVE PAID FOR AND DONT TRUST THE WEB FOR ANY FUTURE PURCHASING OF GAMES AS I FEEL I AM UNLUCKY IN CHOSING GAMES THAT NO LONGER HAVE LISTING OR SUPPORT .
I purchased NFS Carbon for $27 at Gamestop yesterday with the hope of being able to use the 2006 Pontiac GTO as it was on the car list I found online. Little did I know that you have to unlock via online reward cards. This would have been fairly simple back in 07-08 when people were still frequently playing the game online. Now that it is a few years old the GTO along with multiple other cars and gameplay items are impossible to unlock. It would be nice if something could be done about this issue.
When I try to launch NFS: Carbon from Origin, a window appears saying "Sign in with your EA account to activate your game on this computer." When I enter my information, a message appears at the bottom of the window saying "Could not connect to the server, please try again in a few minutes." This error appears every time I try to launch it, and has been occuring for months now.
I have had Carbon since I had EA Download Manager, so that may have been a problem. Obviously, EA does not support this game anymore, but I still don't want to have to buy another copy just to play a game I already own.
Naomi Beckwith:Afternoon gentlemen and congratulations on your show here, your official opening. I thought I'd start with some basic questions because I don't think everyone in the audience knows you all and knows your practice. I'm hoping if all three of you could just give a little bit of your education background and tell us what you were doing before you found each together as The Propeller Group?
Tuan Nguyen:My name is Tuan Andrew Nguyen. I actually met Matt during our days at CalArts, during our graduate studies. And Matt and I started working together as students. We were collaborating with each other on different projects and then we ended up collaborating with other artists and other collectives during our time there at CalArts and after I graduated CalArts I moved to Vietnam to pursue my own art practice there and then I met Phunam and we started shooting videos together on a commercial kind of side. We were doing television work and film work but then we also started collaborating on video projects and more conceptual work as well, so that's my kind engagement with the collective.
NB:I'm interested in what you say that you weren't just interested in making work, you were interested in the structures by which artwork is made and how people sort of form into these organizations that allow creative practice to thrive, but I'm also fascinated, as I think many people are, by the fact that you all are practicing visual artists, what we kind of understand in sort of academic ways, fine artists, but you've also incorporated as a media group in Ho Chi Minh City. Tell us a little about that process and why, why that was necessarily important for any of you.
TN:Let's see. When I first started working with Phunam in 2006, we started to make a documentary film about the first generation of graffiti artists in Vietnam. Graffiti is a long-running thread in our work and we soon realized that it was almost impossible to shoot in public, to film in public without a license. So it was a very kind of pragmatic kind of resolution to kinda license ourselves and to be able to carry equipment out in public to gather images and stories. While we were incorporating, we realized that there were different licenses that we could register under and, at this time in the economic development of Vietnam, advertising was becoming really big, so we soon realized that advertising companies had much more access to the public space than other companies did so we registered as an advertising company. We knew nothing about advertising. We knew we hated advertising and that was the irony of that move for us and we've kind of explored that kind of theme since then.
NB:The biggest irony of course of hating advertising is that the show starts with an advert. Can someone tell me a little bit about the history of this work, which is called Television Commercial for Communism?
ML:So Television Commercial for Communism . . . you know as Tuan was mentioning we also operated as a production company/advertising agency and we've worked with real agencies to produce commercial projects, commercial work, music videos, also with other collectives and artists to make film work for other artists and with other artists, so we had some connections in that world, in the world of advertising and media production. So we had some friends at TBWA\Vietnam, they have a brand, they global branches everywhere, and TBWA is a major advertising agency. The early sort of incarnation of TBWA, Chiat\Day, is responsible for the 1984 Apple commercial, like the really famous award-winning commercial, so they're really a powerhouse in terms of advertising production and so we were fortunate enough to have some connections in the agency in Vietnam and we pitched the idea to the agency if they would be up for . . . as if we were clients representing the last five remaining Communist countries in the world and we wanted to rebrand the image of Communism. And we proposed at TBWA, is this something that they could help us do as a serious project? And it was a complicated project because TBWA branches can't just take on these sorts of political projects without some prior approvals from . . . I think the main offices in London . . . in New York? I thought it was London.
NB:Yes I mean it think one of the main ironies of course is that you use the primary tools of Capitalism to pimp Communism or make a consumer object out of Communism, which is, well, somewhat hilarious, depending on what side of the coin you're standing on. I wanted to talk about some other specific projects especially the ones revolving around the AK-47 vs. the M16. So this is a running motif through your work. These two guns appear over and over again, in films, in sculptural works. So can we start . . . well first can we start by talking about these beautiful gel blocks that we see in the room behind this wall and then talk a little bit about why these two guns are so significant for so many projects?
NB:I think that's beautiful to think about these things in relationship to both photography and film so, on the one hand, they do look like freeze frames, which are photos, and photography was being developed at about the time of the Civil War so there's a kind of parallel media history that goes along with this conflict history as well. And then you've got this funny film. I want to get into the films a little bit, too. Okay, funny may not be the kindest word, but a film called AK-47 vs. the M16. So all of a sudden we have a move from using the guns rather literally in the gel-block situation into this kind of metaphor. Would someone like to talk about the film? I have a feeling Phunam does not wanna do that.
Phunam:The film is actually . . . the main actor is the AK-47 and the other main actor is the M16 and throughout the film you would definitely see both actors appearing in almost every shot and we've combined documentary TV shows and Hollywood films, all the action scenes and drama scenes and made a narrative out of it.
NB:Well I was gonna say it may be simulated but it's still quite painful to watch. I mean I think it's not lost on anyone that the metaphor or the words that we use for taking images and the words that we use for, well, killing things are the same ones: we shoot things, right? So there's something about, like, an image making as sending a trajectory towards someone and it's not necessarily a friendly gesture all the time. There's plenty of sort of moments and cultures that don't like photography, that don't like being captured in that way and I think it's important to think about those differences, these, especially as we talk about sort of working in Saigon and/or versus let's say working in a place called LA or the US that there are subtleties in sort of the cultural differences of making images, which brings me to another question before I wanna talk about another film work, which is why are y'all in Ho Chi Minh City?
Phunam:I was born in Saigon, too, and my family left as refugees when I was six months old but my dad made sure that when the doors opened again we came back to Vietnam again and my name, Phunam, actually means to sort of carry Vietnam and I felt that was my role to come back and come back and do something for Vietnam.
NB:I think that's a really important generational point to make, too, because my father, who is standing next to your father, was also in the battle in Vietnam and so what we all have are these kind of imaginations about what Vietnam was and I think . . . part of the question I was asking you, too is, well, what does it offer your work now to be in that place, the place that for many of us who were raised in the states only exist as the shadow of the war that the Americans lost and that's the only way we can sort of frame it in our imagination?
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