As far as having a well-developed question, see http://www.weizmann.ac.il/mcb/UriAlon/sites/mcb.UriAlon/files/uploads/medawar.pdf - "is the scientific paper a fraud?" - Medawar (along with thinkers like Popper) argues that the having of an idea, or the formulation of a hypothesis isn't itself actually scientific - inspiration is one thing, then scientifically testing it is another. But there is an inexorable pressure on us to pretend we knew what we were doing all along - and began with a well-conditioned problem ("research question") which we deductively tested to destruction. But a lot of the time, the original question was something like "what happens if I poke this?" Einstein (supposedly) said "...if we knew what it was we were doing, we wouldn't call it research"
Dr. Peter Lennox SFHEA Senior Lecturer in Perception College of Arts, Humanities and Education School of Arts e: p.len...@derby.ac.uk t: 01332 593155 https://derby.academia.edu/peterlennox https://www.researchgate.net/profile/Peter_Lennox University of Derby, Kedleston Road, Derby, DE22 1GB, UK -----Original Message----- From: Sursound [mailto:sursound-boun...@music.vt.edu] On Behalf Of Augustine Leudar Sent: 18 August 2017 13:54 To: Surround Sound discussion group <sursound@music.vt.edu> Subject: Re: [Sursound] Sound Based Composition(surround) I actually quite enjoyed the writing ironically and I have high regard for the goals and principles of scholarship. I believe a thorough knowledge of whats been done before (lit review) referencing etc are all admirable and essential. However I do not agree with you that research needs to have a written conceptual framework in order to be considered research - this is a circular argument that I have heard many times - however I do no think this should define what a research is. It refers to a method imported from science and philosophy - have a question - experiment or argue to answer that question - but I do not believe such a focussed approach produces innovation and new discoveries in the arts - in fact historically it wasn't .My PhD was multidicplinary -in science and art. Ironically many people I know in the sciences said the actual discoveries they made in their research had nothing to do with their research questions but were accidental observations they made along the way - yet in the arts I found people far more dogmatic about"trying to stay focussed" , almost as if the arts were desperately trying to justify its position in academies. I found the people in the labs to be vibrant and creative - whereas in the arts everyone was trying to take themselves so seriously. The actual geniuses I met in the sciences never tried to "act smart" they were usually very down to earth - in the arts ..... well....often desperate to show how clever they were with their thesaurus always on hand. I would argue the fundamental goal of the research is to add to the field of human knowledge, to explore new areas to create things that haven't been done before (not necessarily new technologies) - to conduct research. I am aware of plenty of PhD's that have a perfectly worded "conceptual framework" but add very very little if anything to the field of human knowledge but split hairs over and over again in order to feign the appearance of breaking new ground. On the other hand I knew some absolute geniuses who came up with incredible original work - but they dropped out as they were hopeless at writing. So is the goal of artistic research to create incredible innovative new artforms that have never been done before, works of art to rival the great classics of the past - or is it to provide a tight conceptual framework. If research is always restricted to a tight cohesive goal focussed on one outcome and avenue of investigation only - many other avenues of discovery and many modern inventions would never have been made. No-one would deny that many of the greatest artists of our time made huge progress and developments in the arts - but often would write nothing at all about their work. They were also conducting research - I hold that we need to reapraise our approach to the arts in academia and it seems that whilst I am in a minority - there are some at least that hold the same views . Otherwise we will be selecting for people who are good at writing academese rather than actually creating innovative artwork - and of course once they reach positions of power they will hold that this is the only real way to conduct research and they will only open the gates to those that think like them and that talk like them. Its a self perpetuating monster and its a monster the public will not fund forever - thus the sudden lurch towards making contacts with industry in ats academies.. There of course exceptional people in academia capable of both writing and creating fantastic artwork and some of the most inspired and original work I have ever heard has been in academic circles it is a love hate relatonship for me. BTW I agree with you that constant reliance on technological novelty is often vacuous - after all in the past artists were not constantly expected to create new types of canvas, people were interested in what they painted on that canvas - for my own work I see these things as tools, its what I paint with those tools that matters to me not the tools themselves - new tools just allow me to pant pictures I find more interesting using new techniques. On 18 August 2017 at 13:02, Phi Shu <phi...@gmail.com> wrote: > true that International Art English > <https://www.canopycanopycanopy.com/contents/international_art_english > > > (IAE) is problematic, at the same time there is an awful lot of > sound/music/whatever based work that suffers from over dependence on > spectacle and technical contrivance, a lot it is really banal, it has > nothing to say about anything really (beyond: "isn't this a really > interesting sound" - and often it's not). > > speaking as someone who jumped through the practice based PhD loop, I > hated the writing, but a PhD without some form of > intellectual/philosophical/conceptual narrative is simply not a PhD in > my opinion, it shouldn't be awarded. A portfolio featuring a selection > of random, disparate, creative works is not a PhD; equally one should > not need a PhD to convince gatekeepers that one is qualified to > produce interesting and engaging art; or that art bereft of anything > interesting and engaging is somehow acceptable because the person who > produced it has a PhD. Sure, what with the horrible funding climate > and aggressive neoliberal politics we are dealing with, I can see why > so many professional artists are now looking to retreat to academia, > but is that a good reason to do a PhD? and down the line where are all > the teaching hours going to come from? Then there's the practice led > research versus research led practice debate, which is more valid in the > context of doing a PhD? Arguably the latter. > > As for the creation of "immersive" experiences, do we need them? > aren't we already up to our necks in Baudillarian hyerpreality, Donal > Trump is president the USA ffs. A recent provocation > <http://sonicfield.org/2017/08/against-immersion/> sums this up. > > Oh, also, Michael Edwards on "Why I am leaving UK academia > <https://www.timeshighereducation.com/blog/uk-academia-has-gone-hell- > handcart-and-i-quit>" > should be required reading for anyone thinking of being an > artist/composer based in academia. Which reminds me, I was at an event > a few years back, where a well know UK academic composer - who was > about to retire - gave a talk in which he advised against doing a PhD > if composition is something one wishes to make a future out of it - > because the working environment has become that horrible. > > If you want job security, become an administrator. > > On Fri, Aug 18, 2017 at 11:07 AM, Peter Lennox <p.len...@derby.ac.uk> > wrote: > > > See also "Creative Inhibition: how and why?" > > > > A problem is that we have gradually moved to an insidious position > > where "knowledge" has to be expressed in language to be taken > > seriously. So > even > > if one is talking about warm fuzzy subjectivity, one has to be able > > to discuss in hard-edged objective terms. I don't know if anyone > > ever did a PhD on: The parameters of "Nice" - that would be a > > challenge to get past the research degrees committee! > > > > And this brings us to the kind of language that is commonly used in > > Art Galleries. Much of it looks like it has actually been written by > > those automatic bullshit generators (see: https://artybollocks.com/ > > , http://sebpearce.com/bullshit/ ; http://www.buzzwords4u.co.uk/ ; > > https://pdos.csail.mit.edu/archive/scigen/ ) > > > > Sorry - we just may have strayed from the surround path... > > > > Dr. Peter Lennox SFHEA > > Senior Lecturer in Perception > > College of Arts, Humanities and Education School of Arts > > > > e: p.len...@derby.ac.uk > > t: 01332 593155 > > > > https://derby.academia.edu/peterlennox > > https://www.researchgate.net/profile/Peter_Lennox > > > > University of Derby, > > Kedleston Road, > > Derby, > > DE22 1GB, UK > > > > > > -----Original Message----- > > From: Sursound [mailto:sursound-boun...@music.vt.edu] On Behalf Of > > Augustine Leudar > > Sent: 17 August 2017 21:53 > > To: Surround Sound discussion group <sursound@music.vt.edu> > > Subject: Re: [Sursound] Sound Based Composition(surround) > > > > I think you misunderstand what I am saying but it's ok. Anyway you > > might want to look at Stanford. Some of their top academics > > described academia > as > > a cancer for creativity : > > > > http://news.stanford.edu/news/2009/november2/art-academia- > > debate-110409.html > > > > I believe some PhDs now have almost no written content whatsoever > > their now. I think the whole concept of research having to be based > > on research questions is outdated - it makes sense for some fields > > but not really for art - in fact I think it hampers innovation. If > > art and music seeks to express something that can't be expressed > > verbally - how can you base > such > > activity on verbal research questions with out turning art into > > something dead and pretentious and utterly limited by verbal thought > > processes. The solution in the arts seems to have been to make those > > verbal though processes ridiculously convoluted as possible . Have > > fun with that one anyway and good luck. > > > > On 17 August 2017 at 13:40, 霖の <951343...@qq.com> wrote: > > > > > Thank you very much :) And there are couple of things I'd like to say: > > > I agree with both of you and Thank you very much.. The proposal , > > > I don't know how specific should it be.... And one of the problem > > > is exactly what Augustine has mentioned, practice led to research. > > > In that case, the objects... is more like a train of thought > > > rather than just propose some problems for future research. I'm > > > afraid that will limit the creation as well. So.. how to write a > > > decent proposal really > > confuse me. > > > > > > > > > About the term, sound-based composition. It is academic.. at first > > > time, I used electroacoustics. However, as I hope to combine club > > > electronic music style with electroacoustic music, experiment > > > music and so on...The purpose is to have both aesthetic value and art > > > value. > > > Sound is a quite potential sources and it is also the future of > > > music, that's why I'm not rejected to use this term...For > > > composition, as sound and electronic music is quite different from > > > traditional music. > > > Composers , always are audio engineer as well. And when we study > > > sound composition, we also need to learn psychoacoustics so that > > > we will know what we are doing exactly. Besides, combine club > > > electronic means extract some approaches or ideas from it, and > > > with principles, those sound works will be more humanization and > > > interesting rather than serious all the time. There are many > > > people have tried to find a more humanization way to present those > > > art works, combination is one of a > > choice. > > > > > > > > > About the visual cues, I've read some paper write by audiovisual > artists. > > > To them, audio cues and visual cues are oneness rather than one > > > dominate another. What I referred here is human always percept > > > the world with all senses, even in dark room, they still keep > > > using every senses which is intuitive. If artists use those > > > principles to create sth special, that would be interesting and > > > innovation. But indeed, sound always provided informations that visual > > > cues cannot present. > > > That's also a interesting point to be research. > > > > > > > > > > > > > > > > > > > > > ------------------ Original ------------------ > > > From: "Peter Lennox";<p.len...@derby.ac.uk>; > > > Date: Thu, Aug 17, 2017 04:42 PM > > > To: "Surround Sound discussion group"<sursound@music.vt.edu>; > > > > > > Subject: Re: [Sursound] Sound Based Composition(surround) > > > > > > > > > > > > The motion bounce illusion, where application of an audible > > > transient alters the visual conclusion, from two circles passing > > > through each other, to a perception of them 'bouncing' off each > > > other, is a good example of audio altering visual perception. > > > > > > it would be simplistic to say that one sense 'dominates' the > > > other, since the real point lies in the comparative robustness of > > > cues -the sense with the best signal-to-noise ratio is likely to > > > dominate in particular instances. > > > > > > Dr. Peter Lennox SFHEA > > > > > > Senior Lecturer in Perception > > > > > > College of Arts, Humanities and Education > > > > > > School of Arts > > > > > > > > > > > > e: p.len...@derby.ac.uk<mailto:p.len...@derby.ac.uk> > > > > > > t: 01332 593155 > > > > > > > > > > > > https://derby.academia.edu/peterlennox > > > > > > https://www.researchgate.net/profile/Peter_Lennox > > > > > > > > > > > > University of Derby, > > > Kedleston Road, > > > Derby, > > > DE22 1GB, UK > > > > > > ________________________________ > > > From: Sursound <sursound-boun...@music.vt.edu> on behalf of > > > Augustine Leudar <augustineleu...@gmail.com> > > > Sent: 16 August 2017 22:14:46 > > > To: Surround Sound discussion group > > > Subject: Re: [Sursound] Sound Based Composition(surround) > > > > > > This is true too Dave - I know of one audio cue in particular (to > > > do with a football bouncing off a wall) that can alter the way you > > > see the way the ball moves - Ill have to dig it out. It really > > > sucks being a sound artist sometimes ! oh so you're an audio > > > guy.... What's a sound artist ? What like a sound engineer ? or a sound > > > designer ? > > > ooohhhhh a jumped up button pusher with delusions of grandeur........ > > > > > > On 16 August 2017 at 20:06, Dave Malham <dave.mal...@york.ac.uk> > wrote: > > > > > > > I, too, agree with Augustine. A point though that I would make, > > > > on the > > > side > > > > so to speak, is, do not assume that visual cues always override > > > > audio > > > ones. > > > > It is quite common for visual arts people to assume that the > > > > visual overrules everything else but, although not as common, > > > > audio perceptions can override visual ones at times. Anyway, > > > > good luck with > > your phd. > > > > > > > > Dave > > > > > > > > > > > > On 16 August 2017 at 15:29, Peter Lennox <p.len...@derby.ac.uk> > wrote: > > > > > > > > > Wot he said... > > > > > > > > > > Dr. Peter Lennox SFHEA > > > > > Senior Lecturer in Perception > > > > > College of Arts, Humanities and Education School of Arts > > > > > > > > > > e: p.len...@derby.ac.uk > > > > > t: 01332 593155 > > > > > > > > > > https://derby.academia.edu/peterlennox > > > > > https://www.researchgate.net/profile/Peter_Lennox > > > > > > > > > > University of Derby, > > > > > Kedleston Road, > > > > > Derby, > > > > > DE22 1GB, UK > > > > > > > > > > > > > > > -----Original Message----- > > > > > From: Sursound [mailto:sursound-boun...@music.vt.edu] On > > > > > Behalf Of Augustine Leudar > > > > > Sent: 16 August 2017 15:25 > > > > > To: Surround Sound discussion group <sursound@music.vt.edu> > > > > > Subject: Re: [Sursound] Sound Based Composition(surround) > > > > > > > > > > As you probably know visual and other cognitive cues often > > > > > override > > > audio > > > > > cues (see wallachs amazing cylinder experiment from 1940). I > > > > > like to > > > play > > > > > with peoples minds in my installations and create illusions > > > > > with sound > > > - > > > > > but these can be massively aided by the careful manipulation > > > > > of > > > cognitive > > > > > and visual cues - for me for example the choice of location > > > > > and how it looks is just as much a compositional decision as > > > > > the choice of sounds, every sensory experience people have > > > > > from the sight of a speaker, to > > > the > > > > > smell of the environment will have an associated meaning for > > > > > listeners > > > > and > > > > > effect how they hear things, and how believable the world you > > > > > are > > > trying > > > > to > > > > > transport them to is.. > > > > > Cognitive cues are massively influential on how we hear and > > > > > experience > > > > the > > > > > world - from branding to deciding one person has something > > > > > more > > > important > > > > > to say because you know their name, etc etc - you can > > > > > completely > > > override > > > > > audio cues - or massively enhance them if you are clever in > > > > > their > > use. > > > > > However I would suggest practice led research for this kind of > > > > > project > > > - > > > > I > > > > > have heard so many things that sound very good on paper but > > > > > dont > > > actually > > > > > work - to really add to the body of human knowledge I would > > > > > say do it > > > the > > > > > other way round here - find out what works then write about it. > > > > > There are loads of really interesting avenues of research in > > > > > this > > > topic - > > > > > from intepoliation in HRTF data sets to various applications in VR. > > > > > Although not sound based there is research for example in VR - > > > > > you put > > > a > > > > > headset on and walk in a room - you think you are walking in a > > > > > straight line but actually you are walking in a curve - the > > > > > research is > > > > determining > > > > > how far visual cues can foll haptic ones, how much of a curve > > > > > can you > > > get > > > > > away with.... There are many audio equivelants to this "curve". > > > > > .....I > > > am > > > > > also involved in sound sculpture but not perhaps in the way > > > > > you mean - > > > I > > > > > make actual sculptures with sonics bult into them - I like > > > > > technology > > > to > > > > be > > > > > hidden for the aforementioned cognitive reasons- I also do a > > > > > lot of installations in natural environments that integrate > > > > > psychoacoustic and cognitive research (such as the cocktail > > > > > party effect and precedence > > > > etc) . > > > > > I can send you some papers I wrote on using these cues in > > > > > sound installation and theatre if you PM me. I also would be > > > > > wary of terms > > > like > > > > > "sound based music" it sounds like pure academese - I > > > > > understand the importance of academic writing style you have > > > > > the potential to write an interesting research project and > > > > > create a great portfolio which > > > actually > > > > is > > > > > clever and doesnt need to obscure its content with unnecessary > > > > > esoteric language . My advice would be to follow your passion > > > > > and not let > > > yourself > > > > > get led into something you're not really that interested in or > > > > > that > > > makes > > > > > your supervisor feel safer - to finish you will need to be > > > > > really > > > > engaged. > > > > > > > > > > On 16 August 2017 at 13:45, Peter Lennox > > > > > <p.len...@derby.ac.uk> > > wrote: > > > > > > > > > > > You probably have a supervisor, so I wouldn't want to interfere. > > > > > > But it seems to me that your main aim is too broad, too vague. > > > > > > You seem to be saying something like "the perception of > > > > > > music partly relies on processes (neural, cognitive and > > > > > > psychological) that exist for other than musical reasons - > > > > > > so how can this principle be applied to enrich music and sound art?" > > > > > > - but of course, composers have always done this. Take the > > > > > > principle of "intuitive physics" (1993: 'Intuitive Physics', > > > > > > in Eilan, McCarthy and Brewer, (eds.), Problems in the > > > > > > Philosophy and Psychology of Spatial Representation; 99-112) > > > > > > - then compare "flight of the bumble bee" with Prokoviev's > > > > > > "Dance of the Knights" (a track on Romeo and > > > > > > Juliet) - you can hear that they rely on extra-musical > > > > > > associations about size (mass) and therefore momentum, and > > > > > > the sorts of movement (acceleration, change of > > > > > > direction) that might be expected for beings of differing masses. > > > > > > (Also have a listen to Tomita's electronic renditions of > > > > > > Debussey) > > > > > > > > > > > > > > > > > > On the notion of sound sculpture, there are many artists > > > > > > interested > > > in > > > > > > this - for example, The Morning Line > > > > > > (https://www.youtube.com/ watch?v=gipLCJr94Sg ) > > > > > > > > > > > > So, you have a very interesting topic area, and one in which > > > > > > much is not known (an exciting area for research, then). But > > > > > > this stage, of formulating a coherent proposal, is very hard > > > > > > work. Simplicity is the key - trying to be really clear (to > > > > > > yourself) what it is you want to know. That's a problem that > > > > > > all academics wrestle with, all their > > > > lives. > > > > > > Good luck! > > > > > > > > > > > > Dr. Peter Lennox SFHEA > > > > > > Senior Lecturer in Perception College of Arts, Humanities > > > > > > and Education School of Arts > > > > > > > > > > > > e: p.len...@derby.ac.uk > > > > > > t: 01332 593155 > > > > > > > > > > > > https://derby.academia.edu/peterlennox > > > > > > https://www.researchgate.net/profile/Peter_Lennox > > > > > > > > > > > > University of Derby, > > > > > > Kedleston Road, > > > > > > Derby, > > > > > > DE22 1GB, UK > > > > > > > > > > > > > > > > > > -----Original Message----- > > > > > > From: Sursound [mailto:sursound-boun...@music.vt.edu] On > > > > > > Behalf Of > > > ?? > > > > > > Sent: 16 August 2017 12:33 > > > > > > To: sursound <sursound@music.vt.edu> > > > > > > Subject: [Sursound] Sound Based Composition(surround) > > > > > > > > > > > > Thanks for reply. It is really helpful. > > > > > > The term I used , according to Landy's writing : typically > > > > > > designated the art form in which the sound is the basic unit. > > > > > > I'm thinking about it and developed main question and sub > > > > > > questions,here is a brief description : > > > > > > > > > > > > > > > > > > 1 The study purpose and sub-questions > > > > > > 1.1 Main Purpose > > > > > > For the perception mechanism of human being, every part of > > > > > > the outer world is affecting the final cognition. Thus, as > > > > > > sound-based music, the sources may naturally have > > > > > > extra-musical information. How to use that information > > > > > > appropriately to create artwork so that it could arouse > > > > > > people's association and extra-musical experiences? And, How > > > to > > > > > > combine it with other art forms and effectively creates > > > > > > interesting > > > > > perception experiences? > > > > > > > > > > > > 1.2 Perception > > > > > > For receiving and processing, sensory system will be used > > > > > > and worked together all the time. For artwork creation, > > > > > > including sound-based music composition, would it possible > > > > > > to break the typical perception habit or used it to create > > > > > > artwork according to perception > > > principles? > > > > > > 1.3Cognition > > > > > > In this part, the research question focus on cognition > > > > > > process (understanding through thought, experience, and > > > > > > existing knowledge, > > > > > etc.). > > > > > > In the light of above theory, if sound-based music or > > > > > > audiovisual artwork could follow the path of cognition > > > > > > process, will it creates fantastic artwork that brings > > > > > > abundant information even dramatic experiences? For example, > > > > > > using symbolic melody, lyrics or sound with special meaning, > > > > > > and composed them appropriately, it would be act > > > like > > > > > > "access tools" (Leigh Landy, 2007: 27) and enhance the > > > > > > experiences to audiences and assist them understand the work > > > > > > more easily. Thus, people will focus on experience the > > > > > > feelings or interact with > > > artworks > > > > > > rather than struggle with questions like what is going on here. > > > > > > 1.4 Development > > > > > > To develop the research ideas basis on psychoacoustics and > > > > > > cognitive psychology mentioned above, when combining the > > > > > > sound-based artwork with other forms of art, will > > > > > > innovations > > happen by this combination? > > > > > > 1.5 Sound sculpture > > > > > > As mention above, sound sculpture basis on sound-based music. > > > > > > Essentially, music is trying to transmit experiences to > > > > > > audiences, so how about creating sound sculpture? It is like > > > > > > the natural world presented to us: when we come into a > > > > > > place, we will hear and see the surroundings and then > > > > > > understand what has happened here, so as "sound > > > > > sculpture" mentioned here. > > > > > > As I'm new to write proposal, what is the essential elements > > > > > > to form > > > a > > > > > > research object and how specific should it be? I'm going to > > > manipulate > > > > > > the principles and compose serious of artworks . Then > > > > > > extract the result to form a final dissertation. > > > > > > > > > > > > > > > > > > Thank you very much, > > > > > > Yilin > > > > > > -------------- next part -------------- An HTML attachment > > > > > > was scrubbed... > > > > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > > > > attachments/20170816/192f16ff/attachment.html> > > > > > > _______________________________________________ > > > > > > Sursound mailing list > > > > > > Sursound@music.vt.edu > > > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > > > unsubscribe here, edit account or options, view archives and > > > > > > so > on. > > > > > > > > > > > > > > > > > > The University of Derby has a published policy regarding > > > > > > email and reserves the right to monitor email traffic. > > > > > > If you believe this was sent to you in error, please reply > > > > > > to the sender and let them know. > > > > > > > > > > > > Key University contacts: > > > > > > http://www.derby.ac.uk/its/contacts/ > > > > > > _______________________________________________ > > > > > > Sursound mailing list > > > > > > Sursound@music.vt.edu > > > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > > > unsubscribe here, edit account or options, view archives and > > > > > > so > on. > > > > > > > > > > > > > > > > > > > > > > > > > > -- > > > > > Dr. Augustine Leudar > > > > > Artistic Director Magik Door LTD Company Number : NI635217 > > > > > Registered 63 Ballycoan rd, Belfast BT88LL > > > > > -------------- next part -------------- An HTML attachment was > > > > > scrubbed... > > > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > > > attachments/20170816/c71e43d4/attachment.html> > > > > > _______________________________________________ > > > > > Sursound mailing list > > > > > Sursound@music.vt.edu > > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > > unsubscribe > > > here, > > > > > edit account or options, view archives and so on. > > > > > > > > > > > > > > > The University of Derby has a published policy regarding email > > > > > and reserves the right to monitor email traffic. > > > > > If you believe this was sent to you in error, please reply to > > > > > the > > > sender > > > > > and let them know. > > > > > > > > > > Key University contacts: http://www.derby.ac.uk/its/contacts/ > > > > > _______________________________________________ > > > > > Sursound mailing list > > > > > Sursound@music.vt.edu > > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > > unsubscribe > > > here, > > > > > edit account or options, view archives and so on. > > > > > > > > > > > > > > > > > > > > > -- > > > > > > > > As of 1st October 2012, I have retired from the University. > > > > > > > > These are my own views and may or may not be shared by the > > > > University > > > > > > > > Dave Malham > > > > Honorary Fellow, Department of Music The University of York York > > > > YO10 5DD UK > > > > > > > > 'Ambisonics - Component Imaging for Audio' > > > > -------------- next part -------------- An HTML attachment was > > > > scrubbed... > > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > > attachments/20170816/5f326f14/attachment.html> > > > > _______________________________________________ > > > > Sursound mailing list > > > > Sursound@music.vt.edu > > > > https://mail.music.vt.edu/mailman/listinfo/sursound - > > > > unsubscribe here, edit account or options, view archives and so on. > > > > > > > > > > > > > > > > -- > > > Dr. Augustine Leudar > > > Artistic Director Magik Door LTD > > > Company Number : NI635217 > > > Registered 63 Ballycoan rd, > > > Belfast BT88LL > > > -------------- next part -------------- An HTML attachment was > > > scrubbed... > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > attachments/20170816/46e24dc3/attachment.html> > > > _______________________________________________ > > > Sursound mailing list > > > Sursound@music.vt.edu > > > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > > > here, edit account or options, view archives and so on. > > > > > > > > > The University of Derby has a published policy regarding email and > > > reserves the right to monitor email traffic. > > > If you believe this was sent to you in error, please reply to the > > > sender and let them know. > > > > > > Key University contacts: http://www.derby.ac.uk/its/contacts/ > > > -------------- next part -------------- An HTML attachment was > > > scrubbed... > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > attachments/20170817/360dabcc/attachment.html> > > > _______________________________________________ > > > Sursound mailing list > > > Sursound@music.vt.edu > > > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > > > here, edit account or options, view archives and so on. > > > -------------- next part -------------- An HTML attachment was > > > scrubbed... > > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > > attachments/20170817/0010a730/attachment.html> > > > _______________________________________________ > > > Sursound mailing list > > > Sursound@music.vt.edu > > > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > > > here, edit account or options, view archives and so on. > > > > > > > > > > > -- > > Dr. Augustine Leudar > > Artistic Director Magik Door LTD > > Company Number : NI635217 > > Registered 63 Ballycoan rd, > > Belfast BT88LL > > -------------- next part -------------- An HTML attachment was > > scrubbed... > > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > > attachments/20170817/6f067be0/attachment.html> > > _______________________________________________ > > Sursound mailing list > > Sursound@music.vt.edu > > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > > here, edit account or options, view archives and so on. > > > > > > The University of Derby has a published policy regarding email and > > reserves the right to monitor email traffic. > > If you believe this was sent to you in error, please reply to the > > sender and let them know. > > > > Key University contacts: http://www.derby.ac.uk/its/contacts/ > > _______________________________________________ > > Sursound mailing list > > Sursound@music.vt.edu > > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > > here, edit account or options, view archives and so on. > > > -------------- next part -------------- An HTML attachment was > scrubbed... > URL: <https://mail.music.vt.edu/mailman/private/sursound/ > attachments/20170818/46a4c55e/attachment.html> > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe > here, edit account or options, view archives and so on. > -- Dr. Augustine Leudar Artistic Director Magik Door LTD Company Number : NI635217 Registered 63 Ballycoan rd, Belfast BT88LL -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20170818/7e4189e1/attachment.html> _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on. The University of Derby has a published policy regarding email and reserves the right to monitor email traffic. If you believe this was sent to you in error, please reply to the sender and let them know. Key University contacts: http://www.derby.ac.uk/its/contacts/ _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on.
