2nd CfP: 16th Intl Conf Auditory Display (ICAD), Washington, D.C, USA, June 9-15, 2010 ("Eoin.Brazil" )


Subject: 2nd CfP: 16th Intl Conf Auditory Display (ICAD), Washington, D.C, USA, June 9-15, 2010
From:    "Eoin.Brazil"  <eoin.brazil@xxxxxxxx>
Date:    Sun, 10 Jan 2010 21:23:16 -0000
List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>

This is a multi-part message in MIME format. ------_=_NextPart_001_01CA923B.1FB7B2F0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Content-Disposition: inline --------------------------------------------------------------------- Apologies for double posting --------------------------------------------------------------------- Dear all, we would like to announce the following: ::::::::::::::::: SECOND CALL FOR PARTICIPATION ::::::::::::::::: ICAD 2010 SECOND CALL FOR PAPERS, POSTERS, SONIFICATIONS, COMPOSITIONS WORKSHOPS, PAN= ELS, AND DEMONSTRATIONS.=20 The 16th International Conference on Auditory Display (ICAD) Washington, D.C, USA June 9-15, 2010 Please check the conference website for updates: www.icad.org/icad2010/ind= ex.html ICAD 2010=97the 16th International Conference on Auditory Display=97will be= held in Washington, DC at The George Washington University from June 9 to = 15, 2010. Pre-conference workshops and ICAD=92s graduate student ThinkTank = (doctoral consortium) will be held on June 9 and 10, and the conference its= elf will run from June 11 to 15. ICAD is a highly interdisciplinary conference with relevance to researchers= , practitioners, artists, and graduate students working in the use of sound= to convey information and ideas. The conference is unique in its specific = focus on auditory displays and the range of interdisciplinary issues relate= d to their use. Like its predecessors, ICAD 2010 will be a single-track con= ference, open to all, with no membership or affiliation requirements. Consistent with this year=92s theme, =93Sonic Discourse=97Expression throug= h Sound,=94 ICAD 2010 invites the submission of new work and developments i= n all areas of interest to those who work with sound as a medium for convey= ing information and ideas. The conference emphasizes the concerns shared by= those who work primarily with informational and affective aspects of sound= including sonification of data and processes, synthetic and composed sound= , musical sound, natural sound, and all issues related to interaction with = sound, specifically, how it is presented to, and apprehended by, listeners.= Thus, submissions are sought on topics that extend from basic research in = auditory display, to application domains in the arts and sciences, mobile a= pplications, accessibility, audio technology, information and communication= s technology, computer games, engineering analysis, medicine, and more. Each year we aim to attract a wide variety of researchers and practitioners= to the ICAD community who work in fields that are concerned with and/or re= lated to computationally based, informational uses of sound. Thus, in addit= ion to ICAD's core interests, we hope to attract submissions from composers= and artists who use sonification, acoustic synthesis, spatialization, and/= or interaction techniques for composition and performance purposes. Althoug= h we fully intend to maintain ICAD=92s primary emphasis on the use of sound= as information, we specifically want to encourage a wider and more collabo= rative dialogue between practitioners with disparate objectives in auditory= display. In keeping with the goal of enlarging the ICAD community, this year's confe= rence will have a new aural submission category for sonifications and aural= compositions that employ computational auditory display techniques. Submis= sions in this category will be presented to the full conference as part of = the Concert program on the second night of the main conference. ICAD 2010 is being jointly organised by the International Community for Aud= itory Display; VRSonic, Inc.; The George Washington University Department o= f Music; the Navy Center for Applied Research in Artificial Intelligence at= the U.S. Naval Research Laboratory; and the University of Maryland Institu= te of Advanced Computer Studies. The venue for the conference is the Jack M= orton Auditorium in the Media and Public Affairs Building on the George Was= hington University campus. ::::::::::::::::: KEY DATES ::::::::::::::::: 5 February 2010 Submission Deadline for Papers, Posters, and non-aural Cat= egories 19 March 2010 Acceptance Notification (Papers, etc.) 2 April 2010 Sonification / Composition Submission Deadline 3 May 2010 Camera-Ready Submissions Deadline 7 May 2010 Sonification / Composition Acceptance Notification 9-15 June 2010 ICAD 2010 =20 ::::::::::::::::: THEME: Sonic Discourse=97Expression through Sound :::::::= ::::::::::=20=20 This year=92s theme, =93Sonic Discourse=97Expression through Sound=92=92 is= intended to underscore the perspective that effective uses of sound for in= formative purposes involve collaborations between creative and functional a= uditory objectives as well as between the display and the listener. We woul= d like to invite the global ICAD community to accentuate this perspective i= n their work, and authors are especially encouraged to consider how they ca= n incorporate auditory display into the presentation of their papers, for i= nstance, by including auditory annotations and examples of the sounds used = in their efforts and/or by sonifying their results. Just as it would be unu= sual for presentations of papers on graphics not to include some visual art= efacts, we are aiming for it to be the norm that ICAD paper presentations e= mploy sound in addition to the voice of the speaker. Additionally, we hope = this theme will resonate in this year=92s concert and sonification submissi= ons and inspire new perspectives for interactive, real-time performances. T= he George Washington University=92s Jack Morton Auditorium will serve as th= e meeting and concert venue for this year=92s conference, and contributors = will have access to a 12.2 loudspeaker array and auralization software. Com= posers and practitioners contemplating the submission of compositions and/o= r sonifications are encouraged to contact the Demonstrations/Compositions C= hair or Concert Co-chairs to discuss their proposals and ideas as soon as p= ossible.=20 ::::::::::::::::: TOPICS :::::::::::::::::=20 The topics for ICAD include but are not limited to: =20 * 3D and Spatial Audio * Aesthetics, Philosophy, and Culture of Auditory Displays=20=20 * Accessibility=20 * Applications * Auditory Scene Design * Design Theory and Methods=20 * Evaluation and Usability=20 * Human Factors and Interaction * Mappings from Data to Sound=20 * Psychology, Cognition, Perception, and Psychoacoustics * Sonification and Exploration of Data through Sound * Sound as Art * Technologies and Tools=20 ::::::::::::::::: PAPERS :::::::::::::::::=20 Papers are oral presentations of a substantial contribution to the field. F= ull paper submissions should be 6-8 pages, including images and references,= and should be accompanied by relevant sound files. Submissions will be sub= ject to blind review by an international committee of peers in the auditory= display community. One of the authors must present the paper at the confer= ence for it to appear in the proceedings. Papers must not exceed 8 pages an= d must comply with ICAD=92s formatting requirements. A template for papers = and other written submissions can be downloaded from the conference website. Latex Template: http://www.icad.org/icad2010/latex10.zip MS Word Template: http://www.icad.org/icad2010/word10.zip ::::::::::::::::: POSTERS :::::::::::::::::=20 Posters are primarily a forum for discussion of work-in-progress. Submissio= ns should be up to 4 pages, including images and references, and should be = accompanied by any relevant sound files. An international panel will review= submissions. Posters will be presented on a single A0 size sheet during th= e poster session. One of the authors must present the poster at the confere= nce for it to appear in the proceedings. ::::::::::::::::: SONIFICATIONS / COMPOSITIONS:::::::::::::::::=20 Sonifications and Compositions are a new, aural submission category that pr= ovides participants with an opportunity to present and publish extended ins= tances of auditory work that make a contribution to, and/or exemplify, impo= rtant informational and listening practices in the field of auditory displa= y. Pieces should be one to ten minutes in length and must be accompanied by= a one-to-four page abstract that outlines the goals, informational context= , and techniques used in the work (the paper-submission template should be= used for this purpose). Submissions will be evaluated on the merits of the= se criteria by a committee of peers in the auditory display community.=20= =20 Accepted pieces will be published in audio form (along with the abstract) i= n the conference proceedings and will be presented as part of the ICAD 2010= Concert program. A 12.2 loudspeaker array and auralization software from V= RSonic will be available for participants who wish to spatially augment the= ir work for the concert. Composers and practitioners contemplating submissi= ons in this category are thus encouraged to contact one of the relevant con= ference chairpersons (e.g., the Demonstrations/Compositions Chair or one of= the Concert Co-Chairs) to discuss their proposals and ideas well in advanc= e of the conference. Finally, one of the authors must be present to provide= a contextual description of the work on the night of its performance. ::::::::::::::::: WORKSHOPS / TUTORIALS / PANELS :::::::::::::::::=20 Workshops/Tutorials/Panels are an opportunity to share experiences with an = international community of experts. Tutorials/Workshops will run for approx= imately 2-3 hours, Panels will run for 1 hour. Proposals for sessions in th= is category should be up to 4 pages including title, description, and brief= biographies of the presenters. Suggested topics include software and hardw= are tools and systems, design and analysis of empirical experiments, psycho= logical and perceptual issues, design methods, practical aspects of the pro= cess of developing an auditory display=97difficulties encountered, problems= solved, guidelines, etc. Submissions will be reviewed and selected by the = organizing committee and ICAD=92s governing Board. Workshops/Tutorials/Pane= ls that are presented at the conference will appear in the proceedings.=20 ::::::::::::::::: THINK TANK (DOCTORIAL CONSORTIUM) :::::::::::::::::=20 ICAD=92s =93ThinkTank=94 doctoral consortium will be held again this year. = It will retain a similar format to previous consortia as a gathering of pro= mising graduate students (at a range of stages in their program, both maste= rs and doctoral level) and distinguished research faculty. The ThinkTank wi= ll be held in the Department of Music at The George Washington University i= n Washington, D.C. on Thursday June 10th, the day before the full conferenc= e. Further details about applying for this event and possible scholarship f= unds are forthcoming (please the conference website for updates: www.icad.o= rg/icad2010/index.html). ::::::::::::::::: DEMONSTRATIONS :::::::::::::::::=20 The demonstration category presents an opportunity for students, researcher= s, practitioners, and artists, to tangibly and interactively exhibit, share= , and discuss their efforts at ICAD. Additional details concerning the natu= re and submission of demonstrations are forthcoming. Those interested in su= bmitting a demonstration are encouraged to contact the Demonstrations/Compo= sition Chair to discuss their proposals and ideas well in advance of making= their submission. Demonstrators will be expected to give a brief formal pr= esentation about their work at the conference. ::::::::::::::::: ORGANIZING COMMITTEE ::::::::::::::::: For committee email addresses please check the conference website: www.ica= d.org/icad2010/index.html Co-Chairs: Derek Brock, U.S. Naval Research Laboratory Hesham Fouad, VRSonic Ramani Duraiswami, University of Maryland Papers/Posters Chair: Eoin Brazil, University of Limerick Sonifications Chair: Kelly Snook, NASA Demonstrations/Compositions Chair: Evan Rogers, VRSonic Concert Co-Chairs: Douglas Boyce, The George Washington University Katharina Rosenberger, University of California, San Diego ThinkTank (Student Consortium) Chair: Paul Vickers, Northumbria University Web Chair: Brian McClimens, U.S. Naval Research Laboratory Technical Chair: Paul Oehlers, American University Steering Committee: David Worrall, worrall.avatar.com.au? Veronique Larcher, Sennheiser :::::::::::::::::::::::::::::::::: ------_=_NextPart_001_01CA923B.1FB7B2F0 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Content-Disposition: inline <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2//EN"> <HTML> <HEAD> <META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; charset=3Diso-8859-= 1"> <META NAME=3D"Generator" CONTENT=3D"MS Exchange Server version 6.5.7654.12"> <TITLE>2nd CfP: 16th Intl Conf Auditory Display (ICAD), Washington, D.C, US= A, June 9-15, 2010</TITLE> </HEAD> <BODY> <!-- Converted from text/plain format --> <P><FONT SIZE=3D2>---------------------------------------------------------= ------------<BR> Apologies for double posting<BR> ---------------------------------------------------------------------<BR> <BR> Dear all,<BR> <BR> we would like to announce the following:<BR> <BR> ::::::::::::::::: SECOND CALL FOR PARTICIPATION :::::::::::::::::<BR> <BR> ICAD 2010<BR> SECOND CALL FOR PAPERS, POSTERS, SONIFICATIONS, COMPOSITIONS WORKSHOPS, PAN= ELS, AND DEMONSTRATIONS.<BR> <BR> The 16th International Conference on Auditory Display (ICAD)<BR> Washington, D.C, USA<BR> June 9-15, 2010<BR> <BR> Please check the conference website for updates:&nbsp; www.icad.org/icad201= 0/index.html<BR> <BR> ICAD 2010&#151;the 16th International Conference on Auditory Display&#151;w= ill be held in Washington, DC at The George Washington University from June= 9 to 15, 2010. Pre-conference workshops and ICAD&#146;s graduate student T= hinkTank (doctoral consortium) will be held on June 9 and 10, and the confe= rence itself will run from June 11 to 15.<BR> <BR> ICAD is a highly interdisciplinary conference with relevance to researchers= , practitioners, artists, and graduate students working in the use of sound= to convey information and ideas. The conference is unique in its specific = focus on auditory displays and the range of interdisciplinary issues relate= d to their use. Like its predecessors, ICAD 2010 will be a single-track con= ference, open to all, with no membership or affiliation requirements.<BR> <BR> Consistent with this year&#146;s theme, &#147;Sonic Discourse&#151;Expressi= on through Sound,&#148; ICAD 2010 invites the submission of new work and de= velopments in all areas of interest to those who work with sound as a mediu= m for conveying information and ideas. The conference emphasizes the concer= ns shared by those who work primarily with informational and affective aspe= cts of sound including sonification of data and processes, synthetic and co= mposed sound, musical sound, natural sound, and all issues related to inter= action with sound, specifically, how it is presented to, and apprehended by= , listeners. Thus, submissions are sought on topics that extend from basic = research in auditory display, to application domains in the arts and scienc= es, mobile applications, accessibility, audio technology, information and c= ommunications technology, computer games, engineering analysis, medicine, a= nd more.<BR> <BR> Each year we aim to attract a wide variety of researchers and practitioners= to the ICAD community who work in fields that are concerned with and/or re= lated to computationally based, informational uses of sound. Thus, in addit= ion to ICAD's core interests, we hope to attract submissions from composers= and artists who use sonification, acoustic synthesis, spatialization, and/= or interaction techniques for composition and performance purposes. Althoug= h we fully intend to maintain ICAD&#146;s primary emphasis on the use of so= und as information, we specifically want to encourage a wider and more coll= aborative dialogue between practitioners with disparate objectives in audit= ory display.<BR> <BR> In keeping with the goal of enlarging the ICAD community, this year's confe= rence will have a new aural submission category for sonifications and aural= compositions that employ computational auditory display techniques. Submis= sions in this category will be presented to the full conference as part of = the Concert program on the second night of the main conference.<BR> <BR> ICAD 2010 is being jointly organised by the International Community for Aud= itory Display; VRSonic, Inc.; The George Washington University Department o= f Music; the Navy Center for Applied Research in Artificial Intelligence at= the U.S. Naval Research Laboratory; and the University of Maryland Institu= te of Advanced Computer Studies. The venue for the conference is the Jack M= orton Auditorium in the Media and Public Affairs Building on the George Was= hington University campus.<BR> <BR> ::::::::::::::::: KEY DATES :::::::::::::::::<BR> <BR> 5 February 2010&nbsp; Submission Deadline for Papers, Posters, and non-aura= l Categories<BR> 19 March 2010&nbsp; Acceptance Notification (Papers, etc.)<BR> 2 April 2010&nbsp; Sonification / Composition Submission Deadline<BR> 3 May 2010&nbsp; Camera-Ready Submissions Deadline<BR> 7 May 2010&nbsp; Sonification / Composition Acceptance Notification<BR> 9-15 June 2010&nbsp; ICAD 2010<BR> <BR> ::::::::::::::::: THEME: Sonic Discourse&#151;Expression through Sound ::::= :::::::::::::&nbsp;<BR> <BR> This year&#146;s theme, &#147;Sonic Discourse&#151;Expression through Sound= &#146;&#146; is intended to underscore the perspective that effective uses = of sound for informative purposes involve collaborations between creative a= nd functional auditory objectives as well as between the display and the li= stener. We would like to invite the global ICAD community to accentuate thi= s perspective in their work, and authors are especially encouraged to consi= der how they can incorporate auditory display into the presentation of thei= r papers, for instance, by including auditory annotations and examples of t= he sounds used in their efforts and/or by sonifying their results. Just as = it would be unusual for presentations of papers on graphics not to include = some visual artefacts, we are aiming for it to be the norm that ICAD paper = presentations employ sound in addition to the voice of the speaker. Additio= nally, we hope this theme will resonate in this year&#146;s concert and son= ification submissions and inspire new perspectives for interactive, real-ti= me performances. The George Washington University&#146;s Jack Morton Audito= rium will serve as the meeting and concert venue for this year&#146;s confe= rence, and contributors will have access to a 12.2 loudspeaker array and au= ralization software. Composers and practitioners contemplating the submissi= on of compositions and/or sonifications are encouraged to contact the Demon= strations/Compositions Chair or Concert Co-chairs to discuss their proposal= s and ideas as soon as possible.<BR> <BR> ::::::::::::::::: TOPICS :::::::::::::::::<BR> <BR> The topics for ICAD include but are not limited to:<BR> <BR> * 3D and Spatial Audio<BR> * Aesthetics, Philosophy, and Culture of Auditory Displays&nbsp;<BR> * Accessibility<BR> * Applications<BR> * Auditory Scene Design<BR> * Design Theory and Methods<BR> * Evaluation and Usability<BR> * Human Factors and Interaction<BR> * Mappings from Data to Sound<BR> * Psychology, Cognition, Perception, and Psychoacoustics<BR> * Sonification and Exploration of Data through Sound<BR> * Sound as Art<BR> * Technologies and Tools<BR> <BR> ::::::::::::::::: PAPERS :::::::::::::::::<BR> <BR> Papers are oral presentations of a substantial contribution to the field. F= ull paper submissions should be 6-8 pages, including images and references,= and should be accompanied by relevant sound files. Submissions will be sub= ject to blind review by an international committee of peers in the auditory= display community. One of the authors must present the paper at the confer= ence for it to appear in the proceedings. Papers must not exceed 8 pages an= d must comply with ICAD&#146;s formatting requirements. A template for pape= rs and other written submissions can be downloaded from the conference webs= ite.<BR> <BR> Latex Template: <!-- <A HREF=3D"http://www.icad.org/icad2010/latex10.zip"> = -->http://www.icad.org/icad2010/latex10.zip <font color=3Dgray>[ www.icad.org/icad2010/latex10.zip ]</font> <!-- </A> = --><BR> MS Word Template: <!-- <A HREF=3D"http://www.icad.org/icad2010/word10.zip">= -->http://www.icad.org/icad2010/word10.zip <font color=3Dgray>[ www.icad.org/icad2010/word10.zip ]</font> <!-- </A> -= -><BR> <BR> ::::::::::::::::: POSTERS :::::::::::::::::<BR> <BR> Posters are primarily a forum for discussion of work-in-progress. Submissio= ns should be up to 4 pages, including images and references, and should be = accompanied by any relevant sound files. An international panel will review= submissions. Posters will be presented on a single A0 size sheet during th= e poster session. One of the authors must present the poster at the confere= nce for it to appear in the proceedings.<BR> <BR> ::::::::::::::::: SONIFICATIONS / COMPOSITIONS:::::::::::::::::<BR> <BR> Sonifications and Compositions are a new, aural submission category that pr= ovides participants with an opportunity to present and publish extended ins= tances of auditory work that make a contribution to, and/or exemplify, impo= rtant informational and listening practices in the field of auditory displa= y. Pieces should be one to ten minutes in length and must be accompanied by= a one-to-four page abstract that outlines the goals, informational context= , and techniques&nbsp; used in the work (the paper-submission template shou= ld be used for this purpose). Submissions will be evaluated on the merits o= f these criteria by a committee of peers in the auditory display community.= &nbsp;<BR> <BR> Accepted pieces will be published in audio form (along with the abstract) i= n the conference proceedings and will be presented as part of the ICAD 2010= Concert program. A 12.2 loudspeaker array and auralization software from V= RSonic will be available for participants who wish to spatially augment the= ir work for the concert. Composers and practitioners contemplating submissi= ons in this category are thus encouraged to contact one of the relevant con= ference chairpersons (e.g., the Demonstrations/Compositions Chair or one of= the Concert Co-Chairs) to discuss their proposals and ideas well in advanc= e of the conference. Finally, one of the authors must be present to provide= a contextual description of the work on the night of its performance.<BR> <BR> ::::::::::::::::: WORKSHOPS / TUTORIALS / PANELS :::::::::::::::::<BR> <BR> Workshops/Tutorials/Panels are an opportunity to share experiences with an = international community of experts. Tutorials/Workshops will run for approx= imately 2-3 hours, Panels will run for 1 hour. Proposals for sessions in th= is category should be up to 4 pages including title, description, and brief= biographies of the presenters. Suggested topics include software and hardw= are tools and systems, design and analysis of empirical experiments, psycho= logical and perceptual issues, design methods, practical aspects of the pro= cess of developing an auditory display&#151;difficulties encountered, probl= ems solved, guidelines, etc. Submissions will be reviewed and selected by t= he organizing committee and ICAD&#146;s governing Board. Workshops/Tutorial= s/Panels that are presented at the conference will appear in the proceeding= s.<BR> <BR> ::::::::::::::::: THINK TANK (DOCTORIAL CONSORTIUM) :::::::::::::::::<BR> <BR> ICAD&#146;s &#147;ThinkTank&#148; doctoral consortium will be held again th= is year. It will retain a similar format to previous consortia as a gatheri= ng of promising graduate students (at a range of stages in their program, b= oth masters and doctoral level) and distinguished research faculty. The Thi= nkTank will be held in the Department of Music at The George Washington Uni= versity in Washington, D.C. on Thursday June 10th, the day before the full = conference. Further details about applying for this event and possible scho= larship funds are forthcoming (please the conference website for updates: w= ww.icad.org/icad2010/index.html).<BR> <BR> ::::::::::::::::: DEMONSTRATIONS :::::::::::::::::<BR> <BR> The demonstration category presents an opportunity for students, researcher= s, practitioners, and artists, to tangibly and interactively exhibit, share= , and discuss their efforts at ICAD. Additional details concerning the natu= re and submission of demonstrations are forthcoming. Those interested in su= bmitting a demonstration are encouraged to contact the Demonstrations/Compo= sition Chair to discuss their proposals and ideas well in advance of making= their submission. Demonstrators will be expected to give a brief formal pr= esentation about their work at the conference.<BR> <BR> ::::::::::::::::: ORGANIZING COMMITTEE :::::::::::::::::<BR> <BR> For committee email addresses please check the conference website:&nbsp; ww= w.icad.org/icad2010/index.html<BR> <BR> Co-Chairs:<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Derek Brock, U.S. Naval Research= Laboratory<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Hesham Fouad, VRSonic<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Ramani Duraiswami, University of= Maryland<BR> <BR> Papers/Posters Chair:<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Eoin Brazil, University of Limer= ick<BR> <BR> Sonifications Chair:<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Kelly Snook, NASA<BR> <BR> Demonstrations/Compositions Chair:<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Evan Rogers, VRSonic<BR> <BR> Concert Co-Chairs:<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Douglas Boyce, The George Washin= gton University<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Katharina Rosenberger, Universit= y of California, San Diego<BR> <BR> ThinkTank (Student Consortium) Chair:<BR> Paul Vickers, Northumbria University<BR> <BR> Web Chair:<BR> Brian McClimens, U.S. Naval Research Laboratory<BR> <BR> Technical Chair:<BR> Paul Oehlers, American University<BR> <BR> Steering Committee:<BR> David Worrall, worrall.avatar.com.au&#8232;<BR> Veronique Larcher, Sennheiser<BR> <BR> ::::::::::::::::::::::::::::::::::</FONT> </P> </BODY> </HTML>= ------_=_NextPart_001_01CA923B.1FB7B2F0--


This message came from the mail archive
/home/empire6/dpwe/public_html/postings/2010/
maintained by:
DAn Ellis <dpwe@ee.columbia.edu>
Electrical Engineering Dept., Columbia University