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... 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