its just so much better than the chocolate based music I was making before Peter - used to really clog up my ears. Right seriously now - I'm outta here !
On 18 August 2017 at 14:04, Peter Lennox <p.len...@derby.ac.uk> wrote: > Hang on - we're having an academic discussion here - you can't just charge > off and go and actually do something! ;-) > > 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 13:59 > To: Surround Sound discussion group <sursound@music.vt.edu> > Subject: Re: [Sursound] Sound Based Composition(surround) > > very well said Peter. Right enough of this - I'm off to make some sound > based music :) > > On 18 August 2017 at 13:47, Peter Lennox <p.len...@derby.ac.uk> wrote: > > > Yes - academia generally is in a strange place. - I used to love it - > > I remember being asked by someone I know why I worked for that kind of > > money (he claimed more for transport against his tax bill than I > > grossed) - I said "because I get paid to think" - he said fair enough, I > get that. > > But now, any thinking is strictly on my own time. > > The problem is something like this: - the original reason for > > something coming into existence is rarely identical to the reason for > > continuing to exist. > > > > So, The word "university" is derived from the Latin universitas > > magistrorum et scholarium, which roughly means "community of teachers > > and scholars." (Wikipedia) - but in fact, scholarship is now quite > > difficult to find the time and energy for, teaching is defined by the > > measurement methods (to the exclusion of all else) and community > > happens once a year at a conference. > > In fact, there are so many competing vested interests ("stakeholders") > > that the business (extremely big business) has become 'weaponised' > > In the midst of all this, the footsoldiers in the trenches have little > > influence on what universities should be doing, what academia is for. > > And when did we last hear the word "wisdom"? > > > > So - the only reasons I can think of to study at PhD level are > > personal > > ones: the knowledge (and possibly even a glimmer of wisdom) itself - > > the joy of discovering something new, the conviction that one didn't > > simply mark time through life. > > I would NOT advocate PhD level study as some passport to something > > else (as with any academic qualification, actually - only matters if > > you haven't got it, but doesn't guarantee anything whatsoever). > > In other words, it's perhaps handy to think of a PhD as essentially an > > amateur (as in 'for the love of..') thing. As such, the whole thing, > > from proposal to methodology to types of conclusion, should, first and > > foremost, please oneself. If others happen to like it, that's a bonus. > > Cheers > > ppl > > > > 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 Phi > > Shu > > Sent: 18 August 2017 13:02 > > To: Surround Sound discussion group <sursound@music.vt.edu> > > Subject: Re: [Sursound] Sound Based Composition(surround) > > > > 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. > > > > > > 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/20170818/01e1ac0e/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... 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