Re: plain text strange subject, was Re: Le matériau Sonore, hidden place


Subject: Re: plain text strange subject, was Re: Le matériau Sonore, hidden place
From: Morgan Sutherland (skiptracer@gmail.com)
Date: Tue Sep 13 2005 - 16:47:29 EDT


If you are speaking to me, I'm not sure what "mime html" is. I'm using
Gmail. I've had no problems from anybody else. I think I may be able to type
in plain text if you'd prefer... and if I'm not already.

On 9/13/05, Jim Stevenson <jims@eos.arc.nasa.gov> wrote:
>
> Please forgive if you really want to attach html.
>
> Please check the date on this.
> I am a few days behind reading email.
> You may have already fixed this problem.
>
> Do you know that you are posting in mime attached duplicate html?
> Can you please explain why the mime attached html?
> If so, may I please ask which mail program is creating these html
> attachments,
> under which OS, and why?
> I am absolutely certain that it is not my mail program, or anything on my
> end,
> though your mail program may hide them from you.
> This is why others may not have pointed out the mime attached html
> problem.
>
> Your mime attached html post, which I have appended,
> is exactly what I received.
>
> Are you using html to display anything other than plain text?
> Unless you really are using the html features,
> the defaults should be set to both post and answer in plain text,
> or uuencode, if plain text is not an option.
> your answer mode should also be set to
> answer in plain text, or answer in uuencode,
> not to answer in kind.
>
> I am most concerned about viruses in unintended attachments.
>
> If you must quote me, please put your comments first.
> I have already listened to mine.
>
> I read email with speech.
> So it is not possible to scroll past the quotes without listening to them
> again,
> to quickly get to the new information.
> The mime attached html is far from speech friendly!
>
> --
>
> Thanks much again as always.
>
>
> Any idea what happened to your subject line?
>
>
>
> --
>
> If you must quote me, please put your comments first.
> I have already listened to mine.
>
> I read email with speech.
> So it is not possible to scroll past the quotes without listening to them
> again,
> to quickly get to the new information.
>
>
> Thanks much again as always.
> Jim
>
>
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> Message-ID: <9b850fd05091308004a78632f@mail.gmail.com>
> Date: Tue, 13 Sep 2005 11:00:06 -0400
> From: Morgan Sutherland <skiptracer@gmail.com>
> To: cec-conference@concordia.ca
> Subject: =?ISO-8859-1?Q?Re:_Le_mat=E9riau_Sonore,_hidden_place?=
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>
> You are all speaking so academically about a majority of people who
> just=20
> want to make
> "phat beats" and "grooves". These people aren't making some sort of
> conciou=
> s=20
> decision,
> this is what they know to do. They listen to music that sounds
> interesting=
> =20
> and they call=20
> it "weird" or "unlistenable". People *like* texturally boring music.=20
>
> I wonder, what do people think of Boards of Canada? Those guys spend
> weeks=
> =20
> working=20
> on each element of their tracks. Resampling things through vintage
> stereos=
> =20
> and stuff, yet=20
> I don't find they sound very texturally intresting...=20
> But I find that even the people who ARE into pushing boundaries still
> fail=
> =20
> to push the boundaries.=20
> I don't listen to really any music like this however, so I'm speaking
> from=
> =20
> the dark: my narrow experience.=20
>
> On 9/13/05, Adrian Moore <a.j.moore@sheffield.ac.uk> wrote:=20
> >=20
> > >
> > >Ear-seducing means something rather different, perhaps.
> > >
> >=20
> > Sure...and I wonder what makes some sounds more ear-seducing than
> others?
> >=20
> > There's plenty of psychological evidence to support the physicality
> > of sounds affecting the emotional state and/or the attribution of
> > 'human/personal' character traits. I haven't seen much about the
> > quasi-inharmonicity of 'reson' (TM - or is it?) and why it _tends to_
> > produce an ear pleasing effect' (especially at lower Q) for example.
> >=20
> > >It would be an interesting exercise to work exclusively with cliched
> > >standard sounds and see to what extent it's possible to create
> > >something worthwhile. But I think the problem comes from cliches
> > >being used as a substitute for creativity rather than a starting
> > >point for it.
> > >
> > >>The fact that it often isn't is purely the fault of the listener
> > >>who is (perhaps - and amongst other things) fx-spotting instead of
> > >>listening to a different stream of data.
> > >
> > >This assumes there's a different stream of data to listen to. :-)
> >=20
> > If there wasn't, fx-spottting would become a futile activity and the
> > listener would already be in the bar?
> > Then again, in a recent all-night 'time-stretch fest', 9 out of 10
> > listeners guessed the correct fft size and overlap :)
> >=20
> > Leigh Landy's and Rob Weale's 'intention reception' paper
> > http://ems05.concordia.ca/abstracts-fr.shtml#t_12 looks like it might
> > shed light on/around this area.
> >=20
> > also...
> >=20
> > Eric Clarke's new book 'ways of listening' supports an ecological
> > approach to music perception.
> >=20
> >
> http://www.us.oup.com/us/catalog/general/subject/Music/PsychologyofMusic/=
> ?view=3Dusa&ci=3D0195151941
> >=20
> > Best
> > Adrian Moore.
> >=20
> > --
> > Dr. Adrian Moore, Sheffield University, Music Department, 38
> Taptonville=
> =20
> > Road
> > Sheffield. S10 5BR. UK - [tel] 44 (0)114 2220486 [fax] 44 (0) 114 222
> 046=
> 9
> > http://www.adrianmoore.co.uk // Personal
> > http://www.sonicartsnetwork.org // Sonic Arts Network
> > http://www.electrocd.com/bio.e/moore_ad.html // Bio and CD
> > http://www.shef.ac.uk/music // Music Department
> > http://www.shef.ac.uk/usss // University of Sheffield Sound Studios
> >
>
> ------=_Part_9975_20036990.1126623606984
> Content-Type: text/html; charset=ISO-8859-1
> Content-Transfer-Encoding: quoted-printable
> Content-Disposition: inline
>
> <div>You are all speaking so academically about a majority of people who
> ju=
> st want to make</div>
> <div>&quot;phat beats&quot; and &quot;grooves&quot;. These people aren't
> ma=
> king some sort of concious decision,</div>
> <div>this is what they know to do. They listen to music that sounds
> interes=
> ting and they call </div>
> <div>it &quot;weird&quot; or &quot;unlistenable&quot;. People
> <em>like</em>=
> texturally boring music. </div>
> <div><br>I wonder, what do people think of Boards of Canada? Those guys
> spe=
> nd weeks working </div>
> <div>on each element of their tracks. Resampling things through vintage
> ste=
> reos and stuff, yet </div>
> <div>I don't find they sound very texturally intresting... </div>
> <div>&nbsp;</div>
> <div>But I find that even the people who ARE into pushing boundaries still
> =
> fail to push the boundaries. </div>
> <div>I don't listen to really any music like this however, so I'm speaking
> =
> from the dark: my narrow experience. <br><br>&nbsp;</div>
> <div><span class=3D"gmail_quote">On 9/13/05, <b
> class=3D"gmail_sendername">=
> Adrian Moore</b> &lt;<a href=3D"mailto:a.j.moore@sheffield.ac.uk">
> a.j.moore=
> @sheffield.ac.uk <http://sheffield.ac.uk></a>&gt; wrote:</span>
> <blockquote class=3D"gmail_quote" style=3D"PADDING-LEFT: 1ex; MARGIN: 0px
> 0=
> px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">&gt;<br>&gt;Ear-seducing means
> s=
> omething rather different, perhaps.<br>&gt;<br><br>Sure...and I wonder
> what=
> makes some sounds more ear-seducing than others?
> <br><br>There's plenty of psychological evidence to support the
> physicality=
> <br>of sounds affecting the emotional state and/or the attribution
> of<br>'h=
> uman/personal' character traits.&nbsp;&nbsp;I haven't seen much about
> the<b=
> r>quasi-inharmonicity of 'reson' (TM - or is it?) and why it _tends to_
> <br>produce an ear pleasing effect' (especially at lower Q) for
> example.<br=
> ><br>&gt;It would be an interesting exercise to work exclusively with
> clich=
> ed<br>&gt;standard sounds and see to what extent it's possible to create
> <br>&gt;something worthwhile. But I think the problem comes from
> cliches<br=
> >&gt;being used as a substitute for creativity rather than a
> starting<br>&g=
> t;point for it.<br>&gt;<br>&gt;&gt;The fact that it often isn't is purely
> t=
> he fault of the listener
> <br>&gt;&gt;who is (perhaps - and amongst other things) fx-spotting
> instead=
> of<br>&gt;&gt;listening to a different stream of
> data.<br>&gt;<br>&gt;This=
> assumes there's a different stream of data to listen to. :-)<br><br>If
> the=
> re wasn't, fx-spottting would become a futile activity and the
> <br>listener would already be in the bar?<br>Then again, in a recent
> all-ni=
> ght 'time-stretch fest', 9 out of 10<br>listeners guessed the correct fft
> s=
> ize and overlap :)<br><br>Leigh Landy's and Rob Weale's 'intention
> receptio=
> n' paper
> <br><a href=3D"http://ems05.concordia.ca/abstracts-fr.shtml#t_12">
> http://em=
> s05.concordia.ca/abstracts-fr.shtml#t_12<http://s05.concordia.ca/abstracts-fr.shtml#t_12></a>
> looks like it might<br>shed li=
> ght on/around this area.<br><br>also...<br><br>Eric Clarke's new book
> 'ways=
> of listening'&nbsp;&nbsp;supports an ecological
> <br>approach to music perception.<br><a href=3D"
> http://www.us.oup.com/us/ca=
>
> talog/general/subject/Music/PsychologyofMusic/?view=3Dusa&amp;ci=3D01951519=
> 41">
> http://www.us.oup.com/us/catalog/general/subject/Music/PsychologyofMusi=
> c/?view=3Dusa&amp;ci=3D0195151941
> </a><br><br>Best<br>Adrian Moore.<br><br>--<br>Dr. Adrian Moore, Sheffield
> =
> University, Music Department, 38 Taptonville Road<br>Sheffield. S10 5BR.
> UK=
> - [tel] 44 (0)114 2220486&nbsp;&nbsp;[fax]&nbsp;&nbsp;44 (0) 114 222
> 0469<=
> br><a href=3D"http://www.adrianmoore.co.uk">
> http://www.adrianmoore.co.uk> // Personal<br><a href=3D"
>
http://www.sonic=
> artsnetwork.org <http://artsnetwork.org>">http://www.sonicartsnetwork.org>
> // Sonic Arts Network<=
> br><a href=3D"
http://www.electrocd.com/bio.e/moore_ad.html">
> http://www.elec=
> trocd.com/bio.e/moore_ad.html <http://trocd.com/bio.e/moore_ad.html>
> </a> // Bio and CD<br><a href=3D"http://www.shef.ac.uk/music">
> http://www.sh=
> ef.ac.uk/music <http://ef.ac.uk/music></a> // Music Department<br><a
> href=3D"http://www.shef.ac.uk/=
> usss">http://www.shef.ac.uk/usss> // University of Sheffield Sound
> Studi=
> os
> <br></blockquote></div><br>
>
> ------=_Part_9975_20036990.1126623606984--
>
>



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