That's interesting - often idly wondered how to do that (these academics, eh?) - I don't know if sufficient control is feasible, but you might be able to modulate the output of the airjets with discernible frequencies (prob. up to 2K, but could be higher)?
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 11:03 To: Surround Sound discussion group <sursound@music.vt.edu> Subject: Re: [Sursound] Sound Based Composition(surround) 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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