bye
Dr. Peter Lennox SFHEA
Senior Lecturer in Perception
College of Arts, Humanities and Education
School of Arts
e: ***@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-***@music.vt.edu] On Behalf Of Augustine Leudar
Sent: 18 August 2017 14:08
To: Surround Sound discussion group <***@music.vt.edu>
Subject: Re: [Sursound] Sound Based Composition(surround)
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 <***@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: ***@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-***@music.vt.edu] On Behalf Of
> Augustine Leudar
> Sent: 18 August 2017 13:59
> To: Surround Sound discussion group <***@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 <***@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: ***@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-***@music.vt.edu] On Behalf Of
> > Phi Shu
> > Sent: 18 August 2017 13:02
> > To: Surround Sound discussion group <***@music.vt.edu>
> > Subject: Re: [Sursound] Sound Based Composition(surround)
> >
> > true that International Art English
> > <https://www.canopycanopycanopy.com/contents/international_art_engli
> > sh
> > >
> > (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
> > <***@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: ***@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-***@music.vt.edu] On Behalf Of
> > > Augustine Leudar
> > > Sent: 17 August 2017 21:53
> > > To: Surround Sound discussion group <***@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 <***@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";<***@derby.ac.uk>;
> > > > Date: Thu, Aug 17, 2017 04:42 PM
> > > > To: "Surround Sound discussion group"<***@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: ***@derby.ac.uk<mailto:***@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-***@music.vt.edu> on behalf of
> > > > Augustine Leudar <***@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 <***@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
> > > > > <***@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: ***@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-***@music.vt.edu] On
> > > > > > Behalf Of Augustine Leudar
> > > > > > Sent: 16 August 2017 15:25
> > > > > > To: Surround Sound discussion group <***@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
> > > > > > <***@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: ***@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-***@music.vt.edu] On
> > > > > > > Behalf Of
> > > > ??
> > > > > > > Sent: 16 August 2017 12:33
> > > > > > > To: 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
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> > on.
> > > > > > >
> > > > > > >
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> > > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > > --
> > > > > > Dr. Augustine Leudar
> > > > > > Artistic Director Magik Door LTD Company Number : NI635217
> > > > > > Registered 63 Ballycoan rd, Belfast BT88LL
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> > > > >
> > > > >
> > > > > --
> > > > >
> > > > > 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'
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> > > >
> > > >
> > > >
> > > > --
> > > > Dr. Augustine Leudar
> > > > Artistic Director Magik Door LTD Company Number : NI635217
> > > > Registered 63 Ballycoan rd, Belfast BT88LL
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> > >
> > >
> > > --
> > > Dr. Augustine Leudar
> > > Artistic Director Magik Door LTD
> > > Company Number : NI635217
> > > Registered 63 Ballycoan rd,
> > > Belfast BT88LL
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>
>
> --
> Dr. Augustine Leudar
> Artistic Director Magik Door LTD
> Company Number : NI635217
> Registered 63 Ballycoan rd,
> Belfast BT88LL
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--
Dr. Augustine Leudar
Artistic Director Magik Door LTD
Company Number : NI635217
Registered 63 Ballycoan rd,
Belfast BT88LL
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