Ave 04

Ave 04 is a short vocal performance with a female singer singing Ave.

Back then loop POP

Back Then Loop is a straightforward drum, rhythm guitar, bass and synth pop-rock loop.

Ballroom reprieve (cinematic short)

A short cinematic styled composition featuring an edited piano phrase and synth pad.

Baltic winter (amped folk instruments-ethereal and haunting with female vocals)

Baltic Winter - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.

Baltic winter (beautiful ethereal sweeping music with haunting female vocals)

Baltic Winter - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.

Baltic winter (under 1 minute haunting female vocals and ethereal)

Baltic Winter Shorts 02 - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.

Baltic winter (under 1 minute haunting female vocals and ethereal)

Baltic Winter Short 01 - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.

Baltic winter 42 seconds ethereal sweeping and haunting with female vocals

Baltic Winter Shorts 03 - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.

Baltic winter ethereal cinematic and haunting

Baltic Winter (No Vocals - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, percussion, and a couple of synths.

Must Dewey and Kierkegaard’s inquiry for world peace be violent?

Amongst the many aims of education, surely the pursuit of global peace must be one of the most significant.The mandate of UNESCO is to pursue world peace through education by primarily promoting collaboration.The sort of collaboration that UNESCO endorses involves democratic dialogue,where various persons from differing backgrounds can come together,listen,negotiate and discuss possible ways in which peace might be pursued.While this sort of democratic dialogue with its associated free intellectual inquiry is more readily acceptable for issues dealing with problems in the realm of physical nature, it is not so easily tolerated in the realm of ethics and values. Indeed inquiry into the realm of ethics by Kierkegaard has been described by Levinas to be a form of violence. Similarly John Dewey’s work has been included in a list of the ten most harmful books by some conservatives in the United States because he promoted inquiry into morals and religion. Dewey argued against the assumption that there are two-realms—one physical and one moral.He and Kierkegaard both encouraged democratic inquiry into ethics,which is the sort of collaboration recognised by UNESCO as being necessary if we are to pursue world peace.Yet such investigations can be considered by some to be violent and harmful. It is argued here that pursuing inquiries into ethics and aims of education,while appearing to challenge the status quo, should not be construed as being violent but rather should be understood as democratic and educative.

Ethical consumption : a critical introduction

A not-so-quiet revolution seems to be occurring in wealthy capitalist societies - supermarkets selling ‘guilt free’ Fairtrade products; lifestyle TV gurus exhorting us to eat less, buy local and go green; neighbourhood action groups bent on ‘swopping not shopping’. And this is happening not at the margins of society but at its heart, in the shopping centres and homes of ordinary people. Today we are seeing a mainstreaming of ethical concerns around consumption that reflects an increasing anxiety with - and accompanying sense of responsibility for - the risks and excesses of contemporary lifestyles in the ‘global north’.

This collection of essays provides a range of critical tools for understanding the turn towards responsible or conscience consumption and, in the process, interrogates the notion that we can shop our way to a more ethical, sustainable future. Written by leading international scholars from a variety of disciplinary backgrounds - and drawing upon examples from across the globe - Ethical Consumption makes a major contribution to the still fledgling field of ethical consumption studies. This collection is a must-read for anyone interested in the relationship between consumer culture and contemporary social life.

Bass and breaks loop

A cool electro loop featuring bass and beats.

Bass line rock loop 01

Bass Line Rock Loop 01 is a simple bass, electric guitar and drum loop in the style of Rock Pop.

Bass line rock loop 02

Bass Line Rock Loop 02 is a simple bass, electric guitar, synth and drum loop in the style of Rock Pop.

Language and learning preferences : a study of university students in Australia

This study sought to investigate the preferences for language use and modes of learning of university students who were completing undergraduate degrees in Australia. Of the sixty students surveyed, forty percent were international students. For seventy five percent of all students sampled, either they or their parents (or both) were bi- or multilingual. Questions which this research sought to answer were: Do the preferences for learning of university students differ according to the culture and / or language backgrounds of the students? Does an individual student’s preferred learning style influence the student’s preferences for learning in a group situation? For students whose first language is not English, do their preferences for language use vary in group learning? General findings resulting from a statistical analysis of responses to the questionnaire indicated in many, but not all, cases that the preferences for learning of university students differed according to the cultural and / or language backgrounds of the students, that an individual student’s preferred learning style influenced the student’s preferences for learning in a group situation, and that the preferences for language use of students whose first language was not English varied in group learning. Reid’s (1984 in Richards, J.C. & Lockhart, C., 1994) “Perceptual learning style preference questionnaire” comprised one section of the questionnaire for this study. This replication made possible a comparison of the findings which related to students’ learning styles from this study with findings from similar studies in which Reid’s survey instrument had been used. Findings of the present study indicate a number of differences from Reid’s findings. This study found, for example, that most language groups showed a minor preference for group learning using this survey instrument whereas Reid had found that group learning was a negligible preference for most of the language groups in her study. This study may give tertiary educators a greater understanding of their students’ preferences for group and other learning styles. It may also inform them of the likely preferences for language use of those of their students who have first languages other than English. Future students may benefit from this.