February 13, 2014, is the official release date for my 33 1/3 book on Aphex Twin's 1994 album Selected Ambient Works Volume II, available at Amazon (including Kindle) and via your local bookstore. • F.A.Q.Key Tags: #saw2for33third, #sound-art, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art.
Playing with audio.
Sounding out technology.
Composing in code.

Why There’s a @djunto Twitter Account

To encourage communication among participants

I don’t generally post from my @djunto Twitter account. I post from my @disquiet account. I will respond to messages sent to @djunto, but even then I try to redirect the response account so it comes from @disquiet. My general plan for @djunto is as follows: the way Twitter works is that any two people who follow the same account, in this case @djunto, will see any communication either one makes to @djunto. That’s an encouragement for people who participate in the Disquiet Junto to pay attention to each others’ posts, and to discover each other. Ultimately, a core component of the Disquiet Junto is communication among participants, and the @djunto account is one leg of that table, along with the request that members comment on each others’ tracks, perhaps check out the Faceboook page (facebook.com/disquiet.fb), and that they participate in the join in the discussion that occurs on Disquiet.com posts and in the disquiet.com/forums threads.

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Sensing Lisbon

A responsive sonic environment by Abinadi Meza

20140901-r55

The audio is a race of everyday noise at what feels like hyperspeed. There are warbling sirens and clipped voices of public address systems or low-resolution audio surveillance, not to mention foremost this underlying bass drone. Played on a laptop’s speakers at mid- to high level of volume, it will vibrate your desk until your pens and spare change join in the quotidian cacophony. It all has this sense of speed because of the high pitch and the constant pervasive environmental presence.

As it turns out, that sense of presence is rooted in the source audio. The track, “Mere Pis: Lisbon” by Abinadi Meza, is a digital reflection of constant triggers from everyday life. As the brief project description explains:

“Mere Pis: Lisbon is an exploratory atmospherics project that was made in Lisbon, Portugal using custom-built sensors and software. The sensors recorded micro-local environmental elements such as ambient light, humidity, light frequencies, and temperature. Meza treated these sounds as residues, glitches, and afterimages – fragments of a city beyond the city. The project was presented as a live performance at the Sinel de Cordes Palace in Lisbon on September 19 and 21, 2013.”

The above image shows the sensors in question. More on the project at abinadimeza.blogspot.com. This recording was episode 55 of the excellent Radius podcast.

Track originally posted for free download at soundcloud.com/theradius. More details at theradius.us. Abinadi Meza is an American living in Rome, Italy. More from him at abinadimeza.blogspot.com and twitter.com/abinadi.

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via instagram.com/dsqt


It’s assumed you can figure out what the fourth button in the series is for.

Cross-posted from instagram.com/dsqt.
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Dawn-Break Ambient

Gorgeous, gaseous piece by Leonardo Rosado, out of Gothenburg, Sweden

As the track title suggests, “I Have Been Waiting For You, Quiet Morning” posits itself as dawn-break ambient. The drone comes in slow and stays slow, with an extended break between each soft-metal ping and each phase of wind-in-pipe shuddering. It’s a gorgeous, gaseous piece that hovers in the middle distance, full of promise.

Track originally posted at soundcloud.com/leonrosado. More from Leonardo Rosado, who’s based in Gothenburg, Sweden, at works-by-lr.tumblr.com and subterminal.tumblr.com.

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via instagram.com/dsqt


Interrogative Graffiti

Cross-posted from instagram.com/dsqt.
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