1. Will Pearson What relevance does experimentation and research in sonic arts have for redefining listening experiences on mobile devices?

2. Why? Worked for many years with students with additional needs, particulary sensory impairment. To move beyond primary access to creative space requires period of reflection

4. The Shoulders On Which I Stand:  Vito Acconci  John Cage  Tony Conrad  Bill Fontana  Ryoji Ikeda  Kode9 (aka Steve Goodman)  Atau Tanaka  Trevor Wishart

5. My methodology is therefore structured around a major case study of building and testing audito based comics with user groups. This is focused sampling: ‘selective study of particular persons, groups or institutions, or of particular relationships, processes or interactions that are expected to offer especially illuminating examples’ Catherine Hakim, Designing Research

6. Speech unsettles the pure phenomenology of acoustical physics by always supplying or introducing the social and cultural tracings individuality intrinsically enacts, that by nature are always ambiguous and forceful.’ LaBelle/Acconci

7. ‘For the sound object refers back to itself, not sources outside, emphasising the instant of its (re)presentation, thereby fostering a poetics spun from sonic intensities, a pure matter broken down into energy by the focus of audio manipulation.’ (LaBelle, Background Noise)

8. Informative Projects iPhone app for We Are Mudlark Interactive hacklab (2 parts) for Sound and Music Hacklab for Touch Trust (Cardiff) iPhone app for SMARTlab Tour visuals for Dreadnought (XL Records)

14. seeking to harness the computers power to rapidly replicate and generate likely outcomes based on base data. The outcomes from modelling in this way are dubbed ‘implications’ (Mareschal & Shultz, 1996), revealing their predictive nature.

15. ‘One of the tricks of interaction design is that fundamentally what users are trying to do when they’re interacting with a system is to correlate it to something else that they’re more familiar with.’ (Noble : 13)

16. The first type is intraproject, that is, information required for a given design. The second is interproject, that is, product knowledge acquired over many projects. The intraproject information has a short time horizon and is organized around one design. The interproject information has a long time horizon and cuts across product versions, national standards, and individual customers.’ (Finger et al : 92)