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Disquiet Junto Project 0218: Sound Passage

The Assignment: Following the path of artist Kate Carr, explore sounds from a distance.

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Each Thursday in the Disquiet Junto group on SoundCloud.com and at disquiet.com/junto, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Tracks will be added to this playlist for the duration of the project:

This project was posted in the early afternoon, California time, on Thursday, March 3, 2016, with a deadline of 11:59pm wherever you are on Monday, March 7, 2016.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

Disquiet Junto Project 0218: Sound Passage
The Assignment: Following the path of artist Kate Carr, explore sounds from a distance.

The artist and musician Kate Carr generously agreed to provide a prompt this week for the Junto.

Step 1: Consider the ways that sound changes as it travels across space, moving through specific human-built architectures and/or natural geographies. I live near Belfast’s major football stadium, and the roar that travels from the stadium, across the train tracks, up my street, and into my ears is a very different sound to the roar heard when standing in the stadium itself.

Step 2: Record a distant sound, and reflect on what frequencies have made it to your ears from the source, and which ones have bounced or decayed away.

Step 3: Compose a piece based on this recording, and your meditation on the ways its very journey to you has changed the sounds inherent in it.

Step 4: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the early afternoon, California time, on Thursday, March 3, 2016, with a deadline of 11:59pm wherever you are on Monday, March 7, 2016.

Background: Kate Carr composes soundscapes based on field recording and non-conventional instrumentation to explore the relationship between people and place. Weaving together real and imaginary journeys , intensive explorations of sonic enclaves and the re-broadcast of sound in public places, her work is centred on both human and natural geographies. More on Kate Carr at gleamingsilverribbon.com.

Length: The length is up to you. Between one and four minutes seems appropriate.

Upload: Please when posting your track on SoundCloud, only upload one track for this project, and be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please in the title to your track include the term “disquiet0218-soundpassage.” Also use “disquiet0218-soundpassage” as a tag for your track.

Download: It is preferable that your track is set as downloadable, and that it allows for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, please be sure to include this information:

More on this 218th weekly Disquiet Junto project (“Following the path of artist Kate Carr, explore sounds from a distance”) at:

http://disquiet.com/0218/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

Subscribe to project announcements here:

http://tinyletter.com/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

The image associated with this project is by Kate Carr, who also guest-crafted the project description.

By Marc Weidenbaum

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