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Hello musicians, welcome to the show. So just a short broadcast today about the advantage and how to details of recording yourself as a musician. Now, even if you have just started, you know, and you're playing eeky screechy strings or you're really slow or your timing's a bit out, as soon as you start recording yourself and and what I recommend is if you want this to really benefit, right? 

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Hello everybody, double bass players. Welcome, welcome, welcome. We are starting Suzuki book one. This is Twinkle, Twinkle, Little Star. We're just going to do that first section that where the phrase sort of comes to a close. Um, you can piticato, but we're going to talk about being as well. Um, so the biggest thing obviously is to well, not obviously, I mean the biggest thing I suppose actually is holding this huge mon monstrosity of an instrument that we have. Um, you may be following these broadcasts actually with an electric base, which is fine. You've got the uh slightly easier job. It's slightly smaller. It was a lot smaller, isn't it? Um, and I'm sure you think it's much cooler as well, but it's not anyway. We will argue about that another time. So, um, you've got this huge instrument. You need to support it almost so that you could let go and it won't fall over. Just almost. It'd be impossible really to to do that for certain, but approximately, you know, it'll stand on its own for a a couple of seconds. And you know, your your feet may be for comfort quite wide apart. You may be seated. I've got a a seat. It's a tall um fold up kitchen chair that I bought from Amazon uh for about 20 quid and it's way cheaper than any bass, you know, the so-called bass seats or chairs that you can get on um on on certain sites. Um gear for music, ridiculously priced little stools. I like a tall stool. I like to be as similar to standing position as possible. Um it really I just use a stool when I'm doing a lot of rehearsing and everything starts to really ache. Um but I'm standing up and I stand up for my lessons so far. I mean that you know I'm sure I'll sit down sometimes. So this this huge base, the back of the base on the right hand side where that ridge is, that's what I rest against my hip. And it balanced there for about two seconds. Okay? And it can go forwards or backwards. And that means you're you're on that um sort of uh fine line of not being too far back and where it's going to hurt your arm and not being too far forward where it's literally going to fall over. Um so I've got my hand on the neck. Um if you go to the top of the um where the neck meets the head, right? and you just place your hand on that. You if you get to know where the spacings are for your notes, the the the first space and then the second space, that's quite a good measurement if you know it off by heart. What I tend to do is is put my thumb and my forefinger on on the the top there where the string meets the head and gently sort of make a the correct shape that I know for a whole tone. Um, and you just get to sort of get to know it. And and that's pretty much where I assume
my forefinger has to go. So I put my forefinger there. Now I mean you you'll get to know this. I promise you. I absolutely promise this this becomes so um instinctive after a few months. It actually doesn't take very long depending on how much you practice. Of course. Of course. It's all about practice, isn't it? So I'm in tune. I've used an app which is never very good. They're they're notoriously inaccurate. So, it is much better to use either your ear or or some cheating ways. And I've got cheating ways. Um, you can use Let me just get my bow harmonics.
So, I'm probably a little bit out there. [Music] Okay. Okay. So, the the bass notes, right, the top's a bit out. Um, I better pause in a minute and sort that out. I will do a whole session on finding these uh harmonics because they are a bit tricky to explain in a podcast. I mean, it might be something that I have to do for the members actually in the subscription channel because that's where you get all the videos basically. Um, so I've got my mirror in front of me, which is always there. Sometimes I'm not looking at it because I'm looking too hard at the music and sometimes something's in the way and but I check in. I'm always checking in. I just lean a bit and check what what's my arm doing with that bow. You know, it's much harder to bow than it is to pluck. Um, but I'm I'm really definite that Boeing is by far superior for for the depth and width of sound that you can get out of this instrument. Um, the the music the uh the range of techniques that you get with a bow are are much greater than you will get from piticato. Um, that's plucking. So, you know, I do and I teach with a bow because I I love a bow. I I'm used to it. Um, so let's look in the mirror and just check that everything's our back's straight and um we'll do the bone in a minute. Actually, I'm going to piticato because I think it's a bit easier for people who've never played anything before. I'm going to play this first line, right? Um, and let's just listen before we start the lesson, shall we? [Music]
[Music] Okay. So, that's on my iPad. I have my music in front of me. And these are the the playalong sessions that you'll get for free if you sign up to the school. um everything that we do has a playalong version online and you know in in the school um there's there's a PDF section, there's a film section and you can get all of these things and they're just so useful. They really are. Um, quick tip actually, the open strings, you can check their correctly tuned with a way in a major. [Music] Okay. So, that's a really good um a really good tip actually because Twinkle, Twinkle, Little Star, we're going to need a finger down. And if our open strings are not tuned, when we put our finger down, we're going to be out of tune. Okay? So, just a little tip there. Open [Music] one down on the string next door.
Four down.
Three up.
Open.
Move across. Put four down.
Everything up except that first one. And that will open.
Okay. So open 1 4 1 open 4 1 open. So it's quite good exercise just to do that. Okay? Just to just to know that your finger get your finger used to crossing strings. Now don't forget when it's open have your hand ready for the next note if you can. So we're on this um open D. No fingers down. But the next note is this first finger down on that um on that G string. be ready for it and then you haven't got to travel anywhere. And have the when you after you've done this um the six notes on on that with that first finger down, we're going to put all four fingers down. All four of them nice and then up. But have all the fingers ready. If you start, you know, if I was to do um open here and and then h have my hand hovering over the D string instead of hovering over the G string, I've got to get in there's no gap, right? And I've got to get I've got to cross a string. I've wasted time and I've wasted um I'll probably panic, you know? So, it's like you have to do this massive jump. I mean, it's time for that when we're really good, but when we're not so good, we need to be um you know, you you'll see musicians do this all the time. They're already covering for the next step. They're always one step ahead. And when you site read, you have to be one step ahead anyway. Or or if you haven't memorized music, and I don't memorize music ever. Um I've got, you know, I I forget my kids names sometimes. I call them the wrong names, you know. I mean, some people are really good at memorizing and other people simply aren't. Um, there are there's a skill to memorizing and you can learn to memorize, but um, for those of us that don't use memorizing as a a way of learning a tune, we have one eye on the next bar and sometimes one eye on the next phrase, you know, um, sometimes one eye on on the beginning of each line of music, you know, however it is. We look for keys. We look for signals. We look for anchors. And that that's how we do it. Um, so we're running out of time because I talked too much. Let me do the um bow version. Right. Okay. So, I'm going to play quite high up um in terms of I'm not going to play down by the bridge. It's really much louder. So I'm coming right up to the the base of the the fingerboard around about. So
one across and down
four down
one.
And we're going to go we're going to play an open string and get that hand ready to already moved across.
and down. Okay. Did you get that?
Okay. Open and across. And we're we're twisting the bow slightly because we've got to be perpendicular to a different directional string.
Okay. And then one open. Okay. So all the time we're thinking about where have we got to move to. So when you swap strings, not only have you, you know, do you need to be aware of where all those fingers are going to go on the the string at the top down below, you need to remember to twist that bow slightly as you come across the string. So check the mirror. It's I'm on the uh open G and I've got my bow exactly perpendicular. If I kept it in that direction and went to the next string, I would now be pointing in the the wrong direction. I have to lift the bottom of the bow higher slightly to come across. As I come across each string, the base of the bow is coming higher or lower. So the first two that that are on the uh right hand left hand side be pardon are the the bow tip comes lower down as I move towards the center and when I'm doing the other two the bow tip when I'm coming back rather the bow tip goes up. So it it's quite hard to explain that in words, but if you look in the mirror, you you'll be able to see exactly what your what's expected of you and your hand changes position. Everything changes position. So just look in the mirror and practice that a lot. I'm all I'm doing is touching or I'm, you know, jumping from string to string and seeing what how I have to, you know, my arm becomes straighter. For example, um if if I if I have to go from the first string to the the top string, my arm is a completely different shape. Do you see? So, you have to think about all this. Isoland.com for all my lessons. Join me soon for the next


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Join me each day for lessons in strings and piano. 

Transcript unedited (pop over to the music school for lesson handouts PDF and school ready lesson.

Hello musicians, welcome to the first Suzuki book um for uh viola. So first things first, let's talk quickly about just your positioning of your body. So going to stand with our legs apart um feet slightly at an angle about shoulder width apart. Okay, just bend your knees. Check they're nice and soft. You don't want any rigidity. Okay, we're standing by the way. I mean, you can sit down, of course, but we're assuming that we're standing at the moment. You'll find it actually a bit easier, I find, to stand than to sit, especially if you're doing a lot of practice because and it strengthens your core and all sorts of things. So, now stick the viola under your chin and hold it with your left hand. Cup it if you like between your thumb and your forefinger in that natural arch. And you can hold it um right down by the body of the instrument for now. and just sort of feel its weight and move it up and down a bit and rounded circles. You're going to make friends with this instrument and you're going to enjoy its weight. You're going to be familiar with its um you know its its shape and how it operates within your space, your space bubble. Okay? So you're going to start to understand it if you just hold it with your thumb near the near the body so that you're you've got a line between your sort of thumb and your elbow and your toe and and just feel that weight. That's quite a good thing to do as well. So now support it and tuck your chin in. And what I want you to do is just to try and hold it without the left hand you. So squeezing between your chin, your jaw, the side bit there between your chin and your ear and on the on the rest plate. And if you're using a a shoulder rest, I don't use a shoulder rest, so I'm not too familiar with how you work with those, but I do know it makes the instrument much fatter. I don't know if it makes it easier or harder to support without a hand, but if you take your hand away, that position of the viola is the position that you want to have when you're playing. And the other good thing to do every now and then is is just to support it without a hand to remind yourself that actually when your hand comes up, it doesn't need to grip it really hard cuz your neck and shoulder actually doing a really good job taking some of that um weight because it's quite a heavy thing. Now I'm using an electric cello and it's not plugged in. And the reason I use that for teaching is because I teach an awful lot all day long and the neighbors would you know it wouldn't be very pleasant for other people who um you know who live around me. So you have to be a bit aware of that especially when you're learning I think because you can you know practice the same thing over and over and over again as you're going to find out in a minute. Um so I'm hoping that you've um looked at some pictures and some videos of how to hold the bow. And of course, if you sign up to the music school, you'll be able to see all my video my visualized um diagrams and and directions and things like that. But I'm hoping that you've already done that, guys. And you can do a little practice. Have your bow now and hold it vertically. That's from sky to ground. And just move your fingers up and down the wood of the bow or the carbon depending on what you've got. For information, I use a vegan bow. Um, I've just got used to it. It works really well with a um an electric instrument and you do need quite a lot of rosin on it. That's the only thing because the synthetic strings are quite different. But I've got so used to it now. Um, so we've got our bow already and we're looking at our strings and our fingers and the music and thinking, "Oh, what now?" So, all we're going to do today is familiarize ourselves with the with the open strings and then play this um exercise for proper A string posture. So, if you just get your um your bow and halfway down, let it gently drop onto the Don't know if you can hear that. Drop it gently onto the C string and without forcing anything, just pull it along and so you can hear it. Okay. Now, if I push into it, that's what happens. So, if I just rest and pull, that's what happens. And it's much much nicer. So, that's our C string. Now, if you go to the next string along, we're working down towards our towards the ground, towards our toes. And this string, okay, is the G string. So, we've got C, G, D, and then we've got an A. Now, notice as you're going along those strings, you're you're if you look at the shape of the fingerboard, you'll see it's curved, so it's not flat. So, lots of things have to occur so that you don't hit the wrong string when you're trying to play, say you're trying to play the um the G. If you tilt too far with your bow and bring your elbow down too far, you might hit the other string. So, it's all about the mechanics of this is all about having your elbow in the correct place to play each string and having your bow in the right um sort of it's got to be perpendicular to the string. So, it needs to be at right angles to the string depending on which string you've got. So, there's quite a lot going on actually. But your your um your ear and your mind and your body and your neck and your arms and all of this will come naturally the more you do it. But what you don't want to do is make any early mistakes. Okay? That's really important to get it right first off. So let's have a look. I'm going to play this. I've got a um an iPad in front of me with the music and I can play it and stop it and start it and then I'll go over with my instrument that's not plugged in just to if I want to explain things. Okay. But let's let's have a look at let's have a listen to that first exercise.
Okay. So, what do you notice? They're all the same note. That's the most obvious thing, but they are kind of different. So, there's four of those in quick succession. And then there's two of those in less quick succession and then there's a break. Okay, so that's the first thing. So if you look at that piece of music now, you can sort of start to think, well, how how is that piece of score, that piece of music telling me to play those? So if you look at the four, the group of four and those two thick black lines, that means play them quickly. Okay. And the next one has only got one line. So you play those a little bit longer, but they're still quite detached because of those dots above. Okay. So the the you know the passion that you hear in music is always because of the way the composer has constructed these different things to try and communicate to you how they wanted it to be performed when they wrote it or for teachers to try and explain to you how to follow that sort of code. It's like a code isn't it music. Um, the other thing you can see is this box with just three sides above the first note. Now, that means that we're going to do a down bow. So, it corresponds, if you look at your bow, up the top is a point and down the bottom is a square. So, that corresponds with this square. So, we're going to start in that direction and go down. Okay. Up would be a point. And we'll come across lots of those later on
and so on and so on. So that's fairly straightforward. But the thing is when we look at number two, there's no rest for us to look at. So on number two, we're going to have to do this.
So that's that's basically it. It's not particularly difficult. Let let's just play the second.
Okay. And then it repeats. um you do that in your practice. We're not going to do lots of repeats now. So, the only thing really to think about, if you want to slow it right down, you could do
Okay. And then you can when you get really good, you can speed it up. Okay. And um remember that the
Okay. And so it goes on. Um so that's it for today. That's all we've done. So remember, familiarize yourself if you can please with the strings. Always look in a mirror when you're practicing. And you can check that your elbows in the right place for playing each note. I've got a big huge mirror in front of me. And um just make sure that you know your back's nice and straight. Perhaps you're um you're not um bending. You know what I do a lot? I do it a lot because I wear glasses. I I tend sometimes to lean a bit forward to make sure I can see properly. And it's it's a big mistake. It it actually does affect your playing. Okay guys, back tomorrow.


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Music School play along lessons and suplementary scores.

Welcome to our online lesson for Viola today with this introduction about tuning, clef reading, and learning to play online.

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Join the movement

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Blog 4: The Future of Fusion


Series IntroductionThis is part of my ongoing series exploring a new experimental art form that fuses music, dance, and 360° landscapes. Drawing on my training with the Rambert Dance Company and my background in music composition, I’m investigating how different disciplines can interweave into what I call fusion practice.Over four blogs, I’ll share not only the artistic vision but also the practical challenges, questions of accessibility, and possibilities for the future. Each part stands alone, but together they trace the first chapter of a journey into immersive, inclusive art.📌 Part 1: Entering the World of 360 Art
📌 Part 2: When 2D Dance Meets 360° Landscapes
📌 Part 3: Making 360 Art Accessible
📌 Part 4: The Future of FusionWhen I began this journey into 360° art, my focus was simple: bring together music, dance, and landscape in a way that feels alive. Along the way, I’ve discovered that the real subject is bigger — it’s about how art adapts, how limitations spark invention, and how audiences can shape their own experiences.The Fusion at the CoreIn my practice, music, dance, and landscapes aren’t separate strands. They are threads of one tapestry:

• Music provides the structure and the emotional tone.
• Dance embodies rhythm and expression, turning sound into gesture.
• 360° Landscapes offer immersion, a stage without edges.
• Audience brings agency: choosing where to look, how to listen, and when to move inside the work.

Together, they create something I’ve begun to call fusion practice. Not just multidisciplinary, but truly interwoven.Technology as a PartnerRight now, technology gives us both opportunities and constraints:

• Dance remains 2D on screen, even when placed in a 360° world.
• Music can be spatialised, but rarely matches the nuance of a live performance.
• Audiences can look around, but not yet step inside with full presence.

And yet, these limitations are inspiring. Each barrier becomes a prompt for invention. I find myself asking: What can I do with the tools I have now? That is the artist’s eternal question.Imagining the Next StepsLooking forward, I see several possibilities for how this fusion might grow:🌐 Volumetric dance — one day, dancers could be captured as three-dimensional forms and placed directly into 360° spaces.🔊 Interactive soundscapes — music that changes as the audience moves, creating unique compositions for each journey.👥 Shared immersion — groups experiencing 360° art together, whether in a VR gallery, a museum, or a live hybrid performance.🎭 Hybrid stages — combining projection, headset, and screen so dance, landscape, and audience exist across multiple realities at once.Why It MattersFor me, this isn’t about chasing technology for its own sake. It’s about keeping art alive, adapting to new canvases. The same discipline that drives a ballet class or a cello étude is the discipline that drives experimentation with immersive media.Art has always been about the dialogue between form and possibility. Today, the forms are shifting — from canvas to headset, from stage to landscape, from audience to participant. And the possibilities are only beginning to unfold.Closing the First ChapterThis four-part series has been my attempt to open that dialogue with you. To show that 360° art doesn’t have to be intimidating or exclusive, but can be as approachable as a dance step, a piece of music, or a walk through a landscape.The future of fusion is not just in the technology. It is in the way we choose to connect — as artists, as audiences, as collaborators.And this is only the beginning.👉 This is Part 4 of my experimental art journey in 360. Read Part 1 https://www.iservalan.com/2025/08/dancing-with-landscapes-my-first-steps.html, Part 2 https://www.iservalan.com/2025/08/when-2d-dance-meets-360-landscapes-part.html, and Part 3 https://www.iservalan.com/2025/08/making-360-art-accessible-for-all-and.html. Thank you for walking with me through these first steps into a new kind of art form.

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Blog 3: Making 360 and Multi Media Art by iServalan More Accessible 

When people hear about 360° video, they often imagine high-end VR headsets and gaming setups. That can feel intimidating, as though immersive art is only for those with the latest technology. But accessibility is at the heart of my practice. I want this work to be open to anyone — whether you’re a dancer with a phone, a listener with headphones, or a curious viewer with nothing more than a laptop.Beyond the HeadsetYes, VR headsets are incredible. They give you the sensation of standing inside a landscape, of turning your head and stepping into another world. But they’re not the only way:📱 On your phone — YouTube and other platforms let you swipe and drag across 360° videos with a fingertip. Tilt your phone, and the view tilts with you.💻 On a laptop or desktop — You can click and drag to explore, like holding a digital camera that looks around.📺 On a flat 2D screen — Even without interactivity, 360° content can be framed in traditional video form, so you still experience the art, if not the full immersion.The point is: no one is excluded.Layering the ExperienceMy dance sequences are filmed in 2D, which means they can be enjoyed on any screen. The 360° landscapes provide another layer — immersive for those who want to step inside, but not required.Think of it like music: you can listen to a symphony on a concert stage, or you can play it on your headphones while walking to work. The music doesn’t lose its power — it simply adapts to the context.Why Accessibility MattersArt should not be a gated garden. In dance, music, and immersive landscapes, accessibility isn’t just about devices — it’s about philosophy. It’s about keeping doors open, not closed.By designing my practice for multiple platforms, I’m not diluting the work. I’m enriching it, creating multiple ways in. Each audience member chooses their own level of immersion:

• The full headset experience.
• The interactive phone or desktop version.
• The traditional 2D dance films.

All of them valid. All of them part of the art.What’s Next?In my final post of this series, I’ll look ahead to the future of experimental fusion: how dance, music, and 360° landscapes might evolve as technology changes, and how limitations today could spark whole new art forms tomorrow.👉 This is Part 3 of my experimental art journey in 360. Read Part 1 https://www.iservalan.com/2025/08/dancing-with-landscapes-my-first-steps.html and Part 2 https://www.iservalan.com/2025/08/when-2d-dance-meets-360-landscapes-part.html. Stay tuned for Part 4: The Future of Fusion. https://www.iservalan.com/2025/08/the-future-of-fusion-where-multi-media.html

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Dance, Music, Visual, and Sound Fusion, Blog 2: When 2D Dance Meets 360° Landscapes

In my last post, I introduced my experimental journey into 360 art — a fusion of music, immersive landscapes, and dance. Today I want to dig into one of the key creative questions:👉 How can a 2D dance performance live inside a 360° world?The Challenge of Two Dimensions in a Spherical WorldWhen we watch a dance on stage or on film, we are used to a framed experience. The proscenium arch, the cinema screen, or even a YouTube window all tell us: this is the space of performance.But in 360, there is no frame. The audience is surrounded, free to look wherever they like. This raises an intriguing puzzle:

• How do you present choreography that relies on focus and direction inside an environment where attention can wander?
• How do you place a 2D filmed dancer inside a 360° world without breaking the illusion?

Creative PossibilitiesRather than seeing this as a problem, I’ve started to view it as a new stagecraft. Some possibilities include:🎥 Overlay projection — placing a 2D dancer as if they are projected inside the spherical environment, much like a ghostly figure on a landscape.📱 Dual-screen experience — one screen immerses you in the 360° environment, while another device shows the dance in 2D. You experience both simultaneously, almost like holding a choreography in your hands while standing inside its set.🩰 Choreography as contrast — embracing the difference: the fixed rectangular frame of the dancer against the endless fluidity of the 360° world. Instead of hiding the seam, highlighting it.🎶 Music as the bridge — sound unites the two worlds. My compositions can weave between the immersive environment and the 2D dance, so the audience feels continuity even when the visual space shifts.Lessons from Stage and CinemaThis isn’t entirely new. In theatre, directors have long experimented with staging that breaks the proscenium — actors appearing in aisles, or projections extending the set. In cinema, split screens and overlays play with perspective.What 360 offers is the chance to take these ideas further, giving the audience agency to decide where to look, while the music and choreography guide their experience.Why Limitations Can Spark CreativityIf my dancers cannot yet exist in 360 space as volumetric figures, then the very tension between 2D and 360 becomes the art. Constraint is often the mother of invention.Just as in ballet, where strict form produces beauty, or in music composition, where rules of harmony give structure, the limitations of 360 technology might lead to something original — a hybrid art form that wouldn’t exist otherwise.What’s Next?In my next post, I’ll explore the question of accessibility: how people without VR headsets or multiple screens can still experience this work, and why keeping the door open to all audiences matters so deeply to me.👉 This is Part 2 of my experimental art journey in 360. Read Part 1 https://www.iservalan.com/2025/08/dancing-with-landscapes-my-first-steps.html and stay tuned for Part 3, where I’ll focus on accessibility and inclusivity in immersive art.Part 3 https://www.iservalan.com/2025/08/making-360-art-accessible-for-all-and.html

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Dancing with Landscapes: My First Steps into 360 Art

I’ve just taken my first classes with the Rambert Dance Company, exploring contemporary fusion, ballet, and even Bollywood movement. What surprised me most was how close this felt to my experience in music composition. Both disciplines start with structure, rhythm, and discipline — but it’s the moments of freedom, the unexpected improvisations, that create something alive.Now I’m taking those ideas into a new experimental form: fusing dance, music, and immersive 360° landscapes.Why 360?Most people know 360 technology from gaming, VR headsets, or maybe museum tours. But at its heart, 360 isn’t about gadgets — it’s about perspective. Imagine standing inside a landscape rather than looking at it framed in a rectangle. You can turn your head and choose where to focus.For me, this opens up new possibilities:

• My music can envelop the listener.
• My landscapes become immersive environments rather than backgrounds.
• My dance can be placed in dialogue with the space, sometimes framed in 2D, sometimes appearing inside the sphere.

Dance and Music as Parallel PracticesWhen I practice cello or piano, I often begin with small, repetitive movements — scales, exercises, fragments. In dance, it is much the same: a plié, a turn, a shift of weight. These fragments grow into phrases, which grow into complete works.Whether I’m composing music, learning a ballet sequence, or improvising in a 360 landscape, I’m engaging with the same process:

• Structure (form, discipline, rhythm)
• Expression (tone, gesture, dynamics)
• Exploration (what happens if…?)

It feels like one continuous practice, expressed through different mediums.Accessibility MattersI don’t expect everyone to own a VR headset. That’s why my work will always have multiple entry points:

• On YouTube, you can explore 360 on your phone or computer by dragging the screen.
• The dance sequences will be presented in 2D as well, either as overlays or separate films.
• In future, I’m curious about two-screen experiences: imagine holding your phone for dance while being immersed in the 360 landscape on another device.

This way, the work remains open to all — a philosophy that feels important in a world where technology can sometimes exclude as much as it inspires.What’s Next?This is just the beginning. In my next post, I’ll explore the challenge of combining 2D dance with 360° landscapes — and why limitations can actually spark creativity.For now, I invite you to think of 360 not as a tech gimmick, but as a new stage, a new canvas, and a new kind of instrument. One where dance, music, and environment can finally move as one.👉 This is Part 1 of my experimental art journey in 360. Follow along for Part 2, where I’ll dive deeper into the fusion of 2D and immersive movement.https://www.iservalan.com/2025/08/when-2d-dance-meets-360-landscapes-part.htmlPart 3 https://www.iservalan.com/2025/08/making-360-art-accessible-for-all-and.html


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