funny Peter - I am just working on interactive spatialisation tool that incorporates haptic feedback to manipulate sounds in 3D space as well, you use your hands to place and manipulate sounds in 3D space - but there are sensors that allow you to feel the sounds as well - using tiny air jets
On 18 August 2017 at 10:57, Peter Lennox <p.len...@derby.ac.uk> wrote: > I'm just publishing a paper - well, writing it - on multimodal spatial > music. (and "immersive" crops up a lot in subjects' comments) > > Also, see: Nanayakkara, S. C. Enhancing Musical Experience for the > Hearing-impaired using Visual and Haptic Feedback. > Department of Electrical & Computer Engineering, National University of > Singapore. PhD Thesis. 2006 > > The point being that, whilst multimodal techniques may produce useful > assistive technologies, we found that they can also be enjoyed by those > without hearing impairment. The trick is to rethink what the constraints on > composition actually are, if it's a new type of experience. > > 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: 18 August 2017 06:17 > To: Surround Sound discussion group <sursound@music.vt.edu> > Subject: Re: [Sursound] Sound Based Composition(surround) > > Well, on compositional area, including audiovisual music composition, it > still quite hard to create sth like "immersive experiences" or "multimodal > perception". However, imaginary experiences may created if appropriate > sound sources and composing techniques has been referred. > > > > > ------------------ Original ------------------ > From: "Peter Lennox";<p.len...@derby.ac.uk>; > Date: Fri, Aug 18, 2017 03:20 AM > To: "Surround Sound discussion group"<sursound@music.vt.edu>; > > Subject: Re: [Sursound] Sound Based Composition(surround) > > > > ...and "extended mind", and "augmented perception", and "multimodal > perception", along with "superadditive effects" > > > 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: 17 August 2017 20:17:37 > To: Surround Sound discussion group > Subject: Re: [Sursound] Sound Based Composition(surround) > > Dont forget "interactive" and "gesture based" Phi.... > > On 17 August 2017 at 19:06, Phi Shu <phi...@gmail.com> wrote: > > > Just curious, why do you want to do a PhD at all? are you planning on > > being an academic? > > > > Also, you seem to be in a muddle with all the labels and text book > > definitions you are citing. The whole sound versus music thing (be it > > sonic arts, sound art, electroacoustic music, acousmatic music etc. > > etc.) forget all that nonsense, it's a trap. Follow that path and like > > it or not you will always be distracted by having to pander to either > > academic or 'art world' gatekeepers. All these silly little boxes > > people want to put things in are a distraction. Focus on what you want > > to say artistically, what you want to express, don't get wrapped up in > > trying to make it fit within a preexisting frame. > > > > Oh, and if you are bent on making a PhD proposal, stick "embodied" in > > there somewhere, it's still trending....and "immersive experience" is > > sexy now too, money being thrown at that > > <http://www.ahrc.ac.uk/funding/opportunities/current/ > > research-and-partnership-development-call-for-the-next- > > generation-of-immersive-experiences/> > > . > > > > On Thu, Aug 17, 2017 at 1:40 PM, 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 - 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