International Workshop on Time Series Data Sonification
in conjunction with Tsukuba Global Science Week
29-30 September, 2015 - Tsukuba
Website: http://slis.tsukuba.ac.jp/lspc/events/TSDS2015.html
Call for Participation
We are delighted to announce that the International Workshop on Time Series Data Sonification (TSDS2015) will be held on 29-30 September 2015, in Tsukuba, Japan, as a part of Tsukuba Global Science Week (TGSW2015).
Global phenomena that unfold in sequence are generally represented in the form of time series data. In this interdisciplinary workshop, we aim to establish a collaborative relationship among international researchers from various fields, to address the issues and problems that are commonly found in interfacing people and time-series data with sound, and to discover the exciting directions for future research in the field.
In addition to the invited talks, we are now looking for your contribution for either short (5-10 minutes) or long (15-20 minutes) presentations. Topics include but are not limited to:
- Time series data sonification
- Real-time sonification and interaction
- Introduction of time series data for potential sonification projects
- Perception and cognition
This workshop is free and open to public. Registration is not required, but highly recommended due to limited space.
Key Dates
Registration open: July 9, 2015
Abstract submission due: August 20, 2015
Notification of acceptance: August 25, 2015
Invited Talks
- David Worrall (Fraunhofer-Institute for Integrated Circuits IIS, Germany)
“Using Polymedia Sonification for Digital Network Monitoring: The Netson project"
- Masaki Matsubara (University of Tsukuba, Japan) and Takahiko Uchide (AIST, Japan)
"Interactive Multiple Seismic Waves Sonification for Data Exploration"
- Visda Goudarzi (University of Music and Performing Arts Graz, Austria)
“Data Listening is Hear!"
- Naofumi Aoki (Hokkaido University, Japan)
"Sound Programming Using MATLAB"
- Grace Leslie (Singapore University of Technology and Design, Singapore, and Massachusetts Institute of Technology, USA)
"Sonification of EEG and Expressive Movement for Affective Neurofeedback”
- Makio Kashino (NTT Communication Science Laboratories, Japan)
"Sonification of a Player’s Physical / Mental States for Sport Training"
- Hiroko Terasawa (University of Tsukuba, Japan)
"Auditory Gestalt, Interaction, and Emotion: Perceptual and Cognitive Issues in Data Sonification of Biological Data"
- Thomas Hermann (University of Bielefeld, Germany)
"Levels of Time and Space in Data Exploration and Interactive Sonification"
- Yota Morimoto (Royal Conservatory of the Hague, The Netherlands)
“Sound Design in Sonification"
Invited Installations and Performances
- Brain dreams Music by .pf (Kiyoshi Furukawa and collaborators)
- EEG sonification by Grace Leslie
- NetSon project by David Worrall
Schedule and venue
This workshop will be held as a part of Tsukuba Global Science Week (TGSW2015), 9/28-30 2015, at Tsukuba International Congress Center. More details are available at the main TGSW website.
Organizers
General Chair: Hiroko Terasawa (University of Tsukuba)
Contact: tsds.committee [at] gmail.com
Program committee:
Hiroko Terasawa (University of Tsukuba)
Masaki Matsubara (University of Tsukuba)
Makio Kashino (NTT communication science laboratories)
Atsushi Marui (Tokyo University of the Arts)
Supported by:
Research Center for Knowledge Communities, University of Tsukuba
Faculty of Library, Information and Media Science, University of Tsukuba
Japanese Society for Sonic Arts
IPSJ special interest group on Music and Computer (IPSJ-SIGMUS) (under coordination)
Hello,
On behalf of the Editorial Committee of the Journal of Comparative Media Arts, please find inline below (and attached) our call for papers for the second publication of the CMA Journal. Please feel free to disseminate to your communities, students, faculty and recent grads/alumni.
We look forward to your submissions and a successful first issue of our Journal!
Cheers,
Carolina Bergonzoni
Editorial Committee, Journal of Comparative Media Arts
www.cmajournal.ca
About:
The Journal of Comparative Media Arts (CMA Journal) is an open-access, student-run peer-reviewed journal, taking up discussions and investigations within the creative, critical and cultural communities. Our goal is to publish the best of graduate, postgraduate and recent graduate essays and dissertations, presenting the pluralism of research within arts and culture and a forum for scholarly discourse. Engaging a transdisciplinary perspective, the CMA Journal encompasses contemporary concerns with a focus on visual arts and art history, cinema and moving-image studies, performance studies, and studies of computer-based arts. We welcome experimental and creative writing, works-in-progress, collaborations and lively debates that are critically engaged in the ever-shifting range and scope of the fields of critical and cultural studies.
ISSUE TWO: TERRITORY
Territory can convey belonging, ownership and familiarity; land, zones, expanses and boundaries that delineate, encompass and separate space and place. Territory can be inclusive or exclusive, public or private. How do we move through a territory - easily and self-assured? Timidly? Dangerously? The notion of territory is at once individual and collective, representing both visible and invisible boundaries weaving throughout our lives. It exists in myriad forms, constructed through connections; minute and macroscopic. Through the primacy of our bodies Territory is created, shattered, redrawn and recreated as we grow, develop, move, embody and interact with others and with our surrounding environment. The commons, a space of inclusivity where the people can converge, is public territory. Spaces in which to gather, rally, riot. Whose territory is this? Territory includes the interstitial spaces, alleyways and right-of-ways; no-person’s-land. Entering new territory can evoke a sense of adventure, exploration, self-awareness, personal development. Territory is uncharted, encroached upon, contested and occupied. They overlap and collide, extending into realms of culture, sexuality, and religion. Territory are lines drawn on a map, the path of a river, a habitat, a title; a jurisdiction, a political subdivision; a nation, a state, a province. The City of Vancouver takes up and takes over the unceded traditional territory of the Musqueam, Squamish and Tsleil-Waututh First Nations. What does territory mean living on Canada’s West Coast, and elsewhere? In our contemporary moment might it determine Canadian and provincial histories and futures? In what ways can we discuss reconciliation, a home on Native land? What is territory?
CALL FOR SUBMISSIONS
This is the Journal of Comparative Media Arts CFP for artworks, long papers, short papers and photo essays. The second publication of the CMA Journal invites submissions that consider the theme of TERRITORY. Every submission relevant to the study of contemporary, forward-thinking investigations in visual culture and the arts will be reviewed and considered.
Submissions will be accepted until October 1 2015, 23:59 PST.
SUBMISSION FORMAT
All submissions need to be the full length version of the paper. Please submit Word documents (.doc or
.docx) or PDFs to the attention of the Peer Review Committee via email: submissions(a)cmajournal.ca
Submissions will be accepted until October 1 2015, 23:59 PST. Accepted submission will be published
online December 2015.
Contact the Editorial Committee via email: info(a)cmajournal.ca or through our online contact form.
[top_panel.gif]
[Dfuse_Woodstreet_1.jpg]
FRI 10 JULY - SUN 6 SEPT ANOT [1]PATTERN & NOISE - WOOD STREET
GALLERIES. PITTSBURGH. USA.
FRI 10 JULY NOT [2]LATITUDE / TEKTON - PIERCE STUDIOS. PITTSBURGH. USA.
TUES 23 JUNE ANOT [3]SMALL GLOBAL - ATMOSPHERE WELLCOME TRUST. LONDON.
UK.
[4]Pattern and Noise is [5]D-Fuse as first solo exhibition in the US.
Across the two floors of [6]Wood Street Galleries they will explore the
different themes central to their work: [7]Small Global, on the 3rd
floor, focuses on data visualisation in relation to environmental
issues and global interdependency, while [8]Tekton, on the 3rd floor,
references their roots in audio-visual culture, exploring the
spatio-temporal qualities of light and motion.
[9]Small Global is an immersive interactive installation that combines
data visualisations, graphics, animation, filmed footage and surround
sound to address issues of global interdependence, consumption and
environmental degradation. With two modules, Deforestation and
[10]Coltan, produced at [11]Eyebeam [NYC] in 2005, the recent
[12]Extreme Energy module takes a look at the increasingly desperate
measures taken to extract more fossil fuels out of the earthas crust.
Multiple transparent screens arranged in a cube are catching the light
of projections on several layers, with the images echoing on walls,
ceiling and floor of the space. Members of the audience can walk around
and inside the cube, their bodies becoming part of the projection
surfaces. Interaction sensors allow visitors to reveal visual
information with their presence.
[13]Tekton is an ongoing collaboration between [14]D-Fuse and
[15]Labmeta exploring the materiality and temporality of light in
motion. Multi-layered light emitting objects are organised into kinetic
structures that are governed by algorithmic systems. As the mechanics
of the devices are rendered invisible we witness trace elements. The
fragile binaries of disorder and pattern, light and dark, harmony and
disarray, human and machine become delicatly balanced as they are
stabilised in motion and ghost like images hang in the air.
Beginning as a series of audiovisual shorts with musicians including
Hauschka, Lusine, and Swayzak, the project has generated a series of
experimental shorts and an audiovisual performances. The exhibition in
Wood Street however moves this concept forward into the art gallery
space with the construction of a large scale kinetic machine, the
virtual machines from early exploration have become a physical, kinetic
sculpture.
To celebrate the opening of the [16]Pattern and Noise exhibition, on
July 10th there will be two live A/V live shows - [17]D-Fuse will
present [18]Latitude and will be joined by [19]Labmeta for a
performance of [20]Tekton - at Pierce Studios as part of the
[21]Gallery Crawl, a free quarterly art showcase in the heart of
Pittsburgh's Cultural District.
[22]Latitude is a 2-screen performance, the outcome of a 3-month
research period in China, based in 3 cities, Shanghai, Guangzhouand
Chongqing. The piece is a survey of the city as unstable terrain,
inspired by psychogeography it follows the emotive and sublime
qualities of the spaces that surround us. Whilst Tekton the output from
numerous experimental shorts derived from kinetic light machines and
ties them together as an audiovisual piece.
We hope to see you there!
[23]woodstreetgalleries.org/portfolio-view/pattern-and-noise/
[24]crawl.trustarts.org
[25]www.thelancet.com/commissions/climate-change#Jun23
[26]dfuse.com
[27]labmeta.net
If you want to be removed from our Mailing List, please unsubcribe here
____________________
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References
1. http://woodstreetgalleries.org/portfolio-view/pattern-and-noise/
2. http://crawl.trustarts.org/
3. https://vimeo.com/131489338
4. http://woodstreetgalleries.org/portfolio-view/pattern-and-noise/
5. http://www.dfuse.com/index.html
6. http://woodstreetgalleries.org/portfolio-view/pattern-and-noise/
7. http://www.dfuse.com/smallglobal.html
8. http://www.dfuse.com/tekton.html
9. http://www.dfuse.com/smallglobal.html
10. https://vimeo.com/81656970
11. http://eyebeam.org/
12. https://vimeo.com/78536828
13. http://www.dfuse.com/tekton.html
14. http://www.dfuse.com/index.html
15. http://labmeta.net/
16. http://woodstreetgalleries.org/portfolio-view/pattern-and-noise/
17. http://www.dfuse.com/index.html
18. http://www.dfuse.com/latitude.html
19. http://labmeta.net/
20. http://www.dfuse.com/tekton.html
21. http://crawl.trustarts.org/
22. http://www.dfuse.com/latitude.html
23. http://woodstreetgalleries.org/portfolio-view/pattern-and-noise/
24. http://crawl.trustarts.org/
25. http://www.thelancet.com/commissions/climate-change#Jun23
26. http://dfuse.com/
27. http://labmeta.net/
The 2nd Web Audio Conference (WAC) will be held April 4-6, 2016 at Georgia Tech in Atlanta.
WAC is an international conference dedicated to web audio technologies and applications. The conference welcomes web developers, music technologists, computer musicians, application designers, researchers, and people involved in web standards. The conference addresses research, development, design, and standards concerned with emerging audio-related web technologies such as Web Audio API, Web RTC, WebSockets and Javascript. It is open to industry engineers, R&D scientists, academic researchers, artists, and students. The first Web Audio Conference <http://wac.ircam.fr/> was held in January 2015 at IRCAM <http://ircam.fr/> and Mozilla <http://www.mozilla.org/> in Paris, France.
The Internet has become much more than a simple storage and delivery network for audio files, as modern web browsers on desktop and mobile devices bring new user experiences and interaction opportunities. New and emerging web technologies and standards now allow applications to create and manipulate sound in real-time at near-native speeds, enabling the creation of a new generation of web-based applications that mimic the capabilities of desktop software while leveraging unique opportunities afforded by the web in areas such as social collaboration, user experience, cloud computing, and portability. The Web Audio Conference focuses on innovative work by artists, researchers, and engineers in industry and academia, highlighting new standards, tools, APIs, and practices as well as innovative web audio applications for musical performance, education, research, collaboration, and production.
Contributions to the second edition of the Web Audio Conference are encouraged in the following areas:
Web Audio API, Web MIDI, Web RTC, and other existing or emerging web standards for audio and music
Development tools, practices, and strategies of web audio applications
Innovative audio and music based web applications
Client-side audio processing (real-time or non real-time)
Audio data and metadata formats and network delivery
Server-side audio processing and client access
Client-side audio engine and audio rendering
Frameworks for audio synthesis, processing, and transformation
Web-based audio visualization and/or sonification
Multimedia integration
Web-based live coding environments for music
Web standards and use of standards within audio based web projects
Hardware and tangible interfaces in web applications
Codecs and standards for remote audio transmission
Any other innovative work related to web audio that does not fall into the above categories
We welcome submissions in the following tracks: paper, poster, demo, performance, and artwork. All submissions will be single-blind peer reviewed. The conference proceedings, which will include both papers (for papers and posters) and abstracts (for demos, performances, and artworks), will be published online in SmartTech, Georgia Tech’s archival open-access repository.
Papers: Submit a 4-6 page paper to be given as an oral presentation.
Talks: Submit an abstract to be given as an oral presentation.
Posters: Submit a 2-4 page paper to be presented at a poster session.
Demos: Submit an abstract to be presented at a hands-on demo session. Demo submissions should include a title, a one-paragraph abstract and a complete list of technical requirements (including anything expected to be provided by the conference organizers).
Performances: Submit a performance making creative use of web-based audio applications. Performances can include elements such as audience device participation, web-based interfaces, WebMIDI, WebSockets, and/or other imaginative approaches to web technology. Submissions must include a title, a one-paragraph abstract of the performance, a link to video documentation of the work, a complete list of technical requirements (including anything expected to be provided by conference organizers), and names and one-paragraph biographies of all musicians involved in the performance.
Artworks: Submit a sonic web artwork or interactive application which makes significant use of web audio standards such as Web Audio API or WebMIDI in conjunction with other technologies such as HTML5 graphics, WebGL, and/or interactivity. Works must be suitable for presentation on a computer kiosk with headphones. They will be featured at the conference venue throughout the conference and on the conference web site. Submissions must include a title, one-paragraph abstract of the work, a link to access the work, and names and one-paragraph biographies of the author(s).
Tutorials: If you are interested in running a tutorial session at the conference, please contact the organizers directly (webaudio at gatech dot edu).
Important Dates
October 1, 2015: submission deadline
December 1, 2015: author notification
March 1, 2016: camera-ready papers and abstracts due
April 4-6, 2016: conference
At least one author of each accepted submission must register for and attend the conference in order to present their work.
Submission Templates and Submission System
Submission templates are available on the conference web site at http://webaudio.gatech.edu/node/22 <http://webaudio.gatech.edu/node/22>
The submission system is open at https://cmt.research.microsoft.com/WAC2016/ <https://cmt.research.microsoft.com/WAC2016/Protected/Author/SubmissionLight…>
Hi!
Undoing decades of hard work by Miller, "lol" is a tiny domain-specific
language implemented in vanilla Pd, saving wrists everywhere by enabling
less mousey patching.
https://github.com/chr15m/lolPd
lol enables the quick creation of vertical-pipeline patches for
accomplishing the types of tasks that are easy in functional languages
and languages like Python with e.g. list-comprehensions.
For example, here is a lol one-liner that will output 16 random floats
between 0 and 1 - enter the following into an empty object box:
[lol range 16;
bng;
random 100;
/ 100;]
Hook that up to print statement and bang the input.
Here's another contrived example for generating 10 integers counting
upward, starting at whatever number is passed in:
[23(
|
[lol tee value;
range 10;
concat value;
expr $f1 + $f2;]
Note that you can use native Pd objects such as [expr] as above wherever
they are compatible, which turns out to be quite often as Pd will
generally unpack lists sent to the left input for you.
Here is an example that will output 16 midi controller values the moment
it is created, and you can also pass in a number to generate a different
number of values on request (e.g. 32 here):
[32(
|
[lol tee count;
loadbng;
concat count;
default 16;
range;
bng;
random 128;]
I made this because in recent times I have been doing a lot of
algorithmic sequencing and it is laborious to make patches that generate
sequences of numbers with a mouse.
Please feel free to contribute any "pipeline" objects to the project
that make your life easier!
Have fun!
Cheers,
Chris.
--
http://mccormick.cx/
Good morning,
We invite you to participate in ISEA2015 in beautiful Vancouver, British
Columbia from August 14-19th! Our Early Bird registration deadline will
close on July 15th, 2015, and we have a very exciting program planned.
ABOUT ISEA2015 Vancouver
20 years after its first occurrence in Montreal in 1995, the 21st
International Symposium on Electronic Arts (ISEA2015) returns to Canada.
Hosted by Simon Fraser University's School of Interactive Arts + Technology,
School for Contemporary Arts, and FCAT; ISEA2015 presents a rich academic
program rooted in both the humanities and sciences, as well as a
groundbreaking art program.
ISEA2015 is a six-day symposium featuring over 450 speakers, workshops,
tutorials, panels, papers and institutional presentations. It showcases over
180 artworks ranging from large-scale interactive installations to
cutting-edge electronic music performances. The theme of
ISEA2015Disruptionencourages us to re-examine and re-negotiate the
frontiers between academia and art, practice and theory, systems and
reality, art and society.
Centered at SFU Woodward's downtown campus , ISEA2015¹s programming will
overflow to venues across Metro Vancouver. Partners include local artistic
organisations and venues such as the Vancouver Art Gallery, Western Front,
VIVO, the Museum of Vancouver, Grunt Gallery, Vancouver New Music, 221A, New
Westminster New Media Gallery, Fortune Sound Club, the New Forms Festival,
and more.
ISEA2015 will explore subthemes around the potential of electronic arts to
reach out into the world and effect genuine change. These subthemes include
Climate Change, Disruption and Urban Landscapes, Contemporary Curatorial
Practices, Media Activism and Subversion, DIY Technology, BioArt, Sound
Ecology, Embodied Art Practices, Geopolitics, and more.
To frame the discussion around the artistic, scientific, technological, and
social manifestations of disruption as a cultural phenomenon, ISEA2015 will
feature keynote addresses by visionaries such as Brian Massumi, Michael
Connor, Dominique Moulon, Hildegard Westerkamp, and Sara Diamond. Master
disruptors The Yes Men will close the symposium with an address on the use
of creative expression for subversion and disruption.
VIEW the ISEA2015 Schedule
http://isea2015.org/schedule/ <http://isea2015.org/schedule/>
REGISTER for ISEA2015
http://isea2015.org/registration/ <http://isea2015.org/registration/>
VOLUNTEER for ISEA2015
http://isea2015.org/call-for-volunteers-2015/
<http://isea2015.org/call-for-volunteers-2015/>
ABOUT ISEA International
Founded in the Netherlands in 1990, ISEA International is an international
non-profit organization fostering interdisciplinary academic discourse and
exchange among culturally diverse organizations and individuals working with
art, science and technology. The main activity of ISEA International is the
annual International Symposium on Electronic Art (ISEA) launched in 1988.
www.isea-web.org <http://www.isea-web.org>
ISEA2015 - STAY CONNECTED
www.isea2015.org <http://www.isea2015.org>
www.twitter.com/isea2015 <http://www.twitter.com/isea2015> #ISEA2015
www.facebook.com/isea2015 <http://www.facebook.com/isea2015>
www.vimeo.com/isea2015 <http://www.vimeo.com/isea2015>
ISEA2015 STUDENT VOLUNTEER PROGRAM
VOLUNTEER APPLICATION DEADLINE – 20 June 2015 22:00 PST
The 21st International Symposium on Electronic Art invites students, artists, practitioners who want to be ‘where the action is’ to volunteer for ISEA2015. What is ISEA2015?
The International Symposium on Electronic Art (ISEA) is the main nomadic international academic gathering focused on electronic and digital arts. Since its inception in 1988 in the Netherlands, it has been organized in 4 continents and in over 20 international cities that span Istanbul, Paris, Munich, Albuquerque, Sydney and Dubai. ISEA last came to Canada in 1995 in Montreal, where it had a tremendously positive impact on the local community both in terms of cultural and economic shifts that remain central to Montreal even today! ISEA brings together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media.
ISEA2015 is hosted by Simon Fraser University's Faculty of Communication, Arts, and Technology, its School for the Contemporary Arts, and its School for Interactive Arts + Technology (SIAT). We expect 1000+ artists, scholars, researchers and students from around the world, making it the largest event on electronic art and digital media offered to date in British Columbia. While centered at SFU Woodward's, our programming is overflowing in various venues in the Vancouver area. Partners include many local artistic organisations and venues including: the vancouver Art Gallery, the Western Front, VIVO, the Museum of Vancouver (MOV), Grunt Gallery, Vancouver New Music, 221A, New Westminster New Media Gallery, Fortune Sound Club, the New Form Festival, amongst others. As such, we believe that this event will exemplify SFU's vision of engaging students, engaging research (both practice and theory), and engaging the local, national and international communities.
ISEA2015 is a five-day symposium featuring over 500+ speakers, presenting 19 workshops, 10 tutorials, papers, panels, roundtables, posters, and demonstrations, and showcasing over 180 artworks ranging from large-scale interactive artworks to cutting-edge electronic music performances. The theme of ISEA2015 - Disruption - will allow re-examining and re-negotiating the frontiers between the academic and the art world, between practice and theory, between systems and reality, between art and society.
To frame this dialogue, ISEA2015 will feature keynote addresses by visionary pioneers such as Brian Massumi, Michael Connor, Dominique Moulon, Hildegard Westerkamp and Sara Diamond. The Yes Men will cloture the symposium with an address on the use of creative expression for disruption and subversion.
Volunteer Benefits
Volunteers will have the opportunity to be immersed in the network of inspired fellow students, professional artists, designers, academics and scientists. Other benefits include:
* ISEA 2015 full symposium pass
* Complimentary snacks for the breaks between shifts (no lunch is provided)
* Conference T-Shirt
* Certificate of participation as a volunteer, upon request
Applying
Visit the Call For Volunteers and apply Today at isea2015.org
Notification of acceptance will be sent out on July 5th.
If your application is unsuccessful (which you will know on July 5th), you will be given a code in order to benefit from the early bird rate for attending the symposium.
Volunteer Position
You can participate as volunteer for different positions, including some due before the conference.
Visit http://isea2015.org/call-for-volunteers-2015 for details about each position available.
* Volunteers Lead (Pre-Conference Position)
* Installation Setup (Pre-Conference and Conference Positions)
* Registration Desk Clerks
* Room Monitors
* Room Technical Setup
* Way-finding
* Openings, Performances, Sitting Artwork and Exhibitions Monitors
Volunteer Requirements
As volunteer you will be asked to fulfill 25-hours in 5 shifts of 4 hours each, and up to 4 hours of training during the orientation session. The symposium holds a diversity of events from 8am until 1am most days. Volunteer managers will try to accommodate your preferences for volunteer times, however, our priority is to ensure there are enough volunteers for each area. You must be able to work all 5 shifts, plus training time, in order to qualify as a volunteer
The volunteer orientation will be held on prior to you first shift. In order for you to fully understand your role at the conference as well as the location of various meeting rooms, participation in the volunteer orientation session is mandatory. This means that you have to be in Vancouver on Thursday the 13th of August.
We will be grateful if you disseminate the call-out to relevant parties through your channels. We need around 120 volunteers.
Philippe Pasquier
ISEA2015 Symposium Director
Miles Thorogood
ISEA2015 Volunteer Chair.
Contact us:
For further information please contact isea2015volunteer(a)sfu.ca
ISEA 2015: http://isea2015.org
on Facebook: https://www.facebook.com/ISEA2015
on Twitter: https://twitter.com/ISEA2015 Untitled Document
I've written an article explaining a patch that I coded to make some odd/glitchy live tweakable sounds:
Article: http://designingsound.org/2015/06/pure-data-destruction/
SoundCloud Examples: http://soundcloud.com/sovga/sets/pure-data-destruction (Warning! loud sound volumes / digital distortions)
Pd Patch: bit.ly/ PdDestruction
It might be a good reference for people wanting to learn more about Pd as it is a fairly minimal patch so feel free to use it in your own course material if you'd like.
-Leonard Paul
---
School of Video Game Audio Logo
Learn game audio online.
Web: SoVGA.com | Twitter : @ SchoolGameAudio | Google+ : bit .ly/SoVGA-G | LinkedIn : bit. ly/SoVGA-L | Weibo: @ SchoolGameAudio | YouTube : bit.ly/YReelList | Vi meo: bit.ly/VReelList