My research for the last few years has focused on topics like listening and imagining, sound-images and acousmatic reasoning, and enactment of platial memory in electroacoustic music, all of which can be circumscribed as aural phenomena in electroacoustic music listening. I am currently a Leverhulme Trust visiting research fellow at the University of Aberdeen and hope to expand, both in depth and in breadth, the studies of these topics, concentrating on the following key research directions:

- A survey of phenomenological approaches to the aesthetics of electroacoustic music

Since Pierre Schaeffer's introduction of reduced listening, discussions of electroacoustic music have been influenced by phenomenological approaches to the aesthetics of electroacoustic music, which have taken two different attitudes towards aural phenomena in electroacoustic music listening. The Schaefferian tradition, on the one hand, which was followed by Denis Smalley's spectromorphological approach to electroacoustic music listening, and more recently, Stéphane Roy's functional and implicative analysis of electroacoustic music, is a Husserlian approach to the aural phenomena in that it attempts to gain knowledge about the phenomena by bracketing out the other types of sensory experiences except those of hearing. On the other hand, the other tradition is considered a Heideggerian approach to the aural phenomena in that it aims to gain access to the phenomena themselves by 'letting them be.' While the former tries to focus on aural phenomena by limiting the access to the other sense information, the latter lets all elements of the phenomena speak for themselves. The latter tradition has expanded itself to the discussions of sound-images and semiotic listening in electroacoustic music. This survey aims to discuss, and examines the interrelation between, these two different phenomenological approaches to electroacoustic music listening by reviewing key literature in electroacoustic music. It is hoped that this survey will provide a new insight into the key literature and contribute to the current discussions of the aesthetics of electroacoustic music. 

- Listening in[to] space and place in electroacoustic music

Space has always been a key issue in electroacoustic music, and recently, it has gained renewed interest as witnessed from major electroacoustic festivals and journals that called for contributions based on the theme of Space. Compared to the popularity of Space as a topic, the concept of Place has not received the attention it deserves in the discussions of electroacoustic music. This study examines the concept of Place, while comparing it with that of Space in the process of listening to, and making, electroacoustic music. It is argued that Space needs to be discussed in tandem with Place in order to have a full understanding of listening to, and composing, electroacoustic music. 

- Acousmatic reasoning: concept and application

This study will expand the concept of acousmatic reasoning that I have conceived during my PhD dissertation stage. It aims to further the application of acousmatic reasoning, defined as a process of listening to and composing with dis-embodied and dis-placed sound materials based on their spectromorphological and semiotic significations and connotations, not only to explaining how the listener engages in electroacoustic music listening, but also to establishing a didactic language which can be used in discussing compositional processes.