◼ Faulty Notation: The 73rd weekly Disquiet Junto project was a collaboration with Geoff Manaugh of BLDG BLOG. The Junto participants read segments of a map of the San Andreas Fault as if they were individual scores intended as graphic notation. In a post at his bldgblog.blogspot.com site, Manaugh discusses how the project corresponded with a course he taught this past semester at the architecture graduate school of Columbia University. The above image is an “architectural ‘instrument’ for the San Andreas Fault, designed and fabricated by student David Hecht.” More from Hecht at shareintent.tumblr.com.
◼ Parenthetical Remarks: “So when Sigur Rós releases an album of songs sung in meaningless phonemes and abstract vocalizations, they don’t do so in a vacuum, but are part of an artistic tradition. I hope to locate the album in that tradition, and show where its aesthetics converge and, perhaps more interestingly, diverge from those of its predecessors.” That’s Ethan Hayden talking about his in-progress 33 1/3 book on the album () by Sigur Rós: 333sound.com. More from the author, also a composer/performer, at ethanhayden.com. (I’m currently writing a book in the same series. Mine is on Aphex Twin’s Selected Ambient Works Volume II.)
◼ FACE Time: “The chord is an F Major 7 (Fmaj7), which means it is composed of four notes: F, A, C, and E. That the perfect ping sound also spelled FACE was a ‘serendipitous discovery.'” That’s Alexis Madrigal writing about the recent alert tones on Facebook.com: theatlantic.com.
◼ Vuzh Feed: There’s a lengthy and in-depth podcast interview with frequent Disquiet Junto participant C. Reider, of the Vuzh Music and deriv.cc netlabels, at musicmanumit.com. Among other topics, it covers the meaning of “experimental” music and the benefits of a Creative Commons license allowing for derivative works. He, er, also says some nice things about this site (MP3).