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

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Disquiet Junto Project 0137: Old-Time Electronica

The Assignment: Produce an original piece of music that fits the genre "old-time electronica."

Closeup of Babbage Difference Engine #2

Each Thursday at the Disquiet Junto group on SoundCloud.com 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.

This assignment was made in the early evening, California time, on Thursday, August 14, with 11:59pm on the following Monday, August 18, 2014, as the deadline.

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

Disquiet Junto Project 0137: Old-Time Electronica
The Assignment: Produce an original piece of music that fits the genre “old-time electronica.”

All Disquiet Junto projects employ constraint as a means to stimulate creativity and productivity. Sometimes this means limiting oneself to specific source material, other times to a conceptual approach, and there’s always the additional constraint of time: the deadline is approximately four days, depending on your time zone.

For this Disquiet Junto project, the constraint is a matter of terminology. This week we’re exploring how the concept of “genre” can itself serve as a restraint, and we’ll accomplish this by pushing back at genre conventions.

The project instructions are straightforward: Record an original piece of music that you feel belongs within the genre of “old-time electronica.”

Restrictions: You can use any source material, any instrumentation, except the human voice.

Deadline: Monday, August 18, 2014, at 11:59pm wherever you are.

Length: Your finished work should be between 1 minute and 4 minutes.

Information: Please when posting your track on SoundCloud, 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.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0137-oldtimeelectronica″ in the title of your track, and 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 137th Disquiet Junto project — “Produce an original piece of music that fits the genre ‘old-time electronica’″ — at:

http://disquiet.com/2014/08/14/disquiet0137-oldtimeelectronica/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Photo associated with this track, of a working Babbage Engine, by Larry Johnson, courtesy of a Creative Commons license at:

https://flic.kr/p/8uw1KJ

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Disquiet Junto Project 0136: Thrice Derivative

Recombinate work from the netlabels Nowaki, Phantom Channel, and Rec72.

20140213-actsofcommons

Each Thursday at the Disquiet Junto group on SoundCloud.com 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.

This assignment was made in the early evening, California time, on Thursday, August 7, with 11:59pm on the following Monday, August 11, 2014, as the deadline.

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

Disquiet Junto Project 0136: Thrice Derivative
Recombinate work from the netlabels Nowaki, Phantom Channel, and Rec72.

Create a new piece of music by using nothing but the following segments of the following songs:

Segment 1: The first 30 seconds of “Nunquam Revolvo” from Jared C. Balogh’s album I Am The Ship // I Am The Shaman, available from the Nowaki netlabel. This should lead to the MP3:

http://goo.gl/P6D9j6

Segment 2: From 2:10 to 2:40 of “And The Rain Embraced Our Closing Words” by from Chris Tenz and Cory Zaradzur’s album Language of Landscape, available from the Phantom Channel netlabel. This should lead to the MP3:

http://goo.gl/Y3TU4o

Segment 3: From 1:40 to 1:50 of “HD Eve” from the Small Radio album Migre 3, available from the Rec72 netlabel. This should lead to the MP3:

http://goo.gl/lWMcV1

Background: All of this music is available for free, non-commercial download and creative reuse thanks to a Creative Commons license. This project is part of a series of “netlabel remixes” intended to promote that sort of thoughtful, collaborative sharing.

Deadline: Monday, August 11, 2014, at 11:59pm wherever you are.

Length: Your finished work should be between 2 minute and 4 minutes.

Information: Please when posting your track on SoundCloud, 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.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0136-thricederivative″ in the title of your track, and as a tag for your track.

Download: Due to the nature of the source material, your track should be set as downloadable, and with a license that 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 136th Disquiet Junto project — “Recombinate work from the netlabels Nowaki, Phantom Channel, and Rec72″ — at:

http://disquiet.com/2014/08/07/disquiet0136-thricederivative/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums

This track is made from elements extracted from the track “Nunquam Revolvo” from Jared C. Balogh’s album I Am The Ship // I Am The Shaman, available from the Nowaki netlabel; “And The Rain Embraced Our Closing Words” by from Chris Tenz and Cory Zaradzur’s album Language of Landscape, available from the Phantom Channel netlabel; and “HD Eve” from the Small Radio album Migre 3, available from the Rec72 netlabel.

More on those releases at

http://www.nowaki-music.org/#album197

https://archive.org/details/LanguageOfLandscape-memoriesFadeUnderAShallowAutumnSnowphch014

http://rec72.net/?p=3555

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Disquiet Junto Project 0135: Sound of Summer

Record the sonic equivalent of air conditioning.

20140731-airc

Each Thursday at the Disquiet Junto group on Soundcloud.com 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.

This assignment was made in the early evening, California time, on Thursday, July 31, with 11:59pm on the following Monday, August 4, 2014, as the deadline.

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

Disquiet Junto Project 0135: Sound of Summer
Record the sonic equivalent of air conditioning.

This project is as follows. You are being asked to try to record one minute of sound that would suggest to the listener the pleasing experience of air conditioning — of the air being cooled on a hot summer day.

Deadline: Monday, August 4, 2014, at 11:59pm wherever you are.

Length: The length of your finished work should be approximately one minute.

Information: Please when posting your track on SoundCloud, 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. Also note the segment of the video you worked on.

Title/Tag: When adding your track to the Disquiet Junto group on Soundcloud.com, please include the term “disquiet0135-soundofsummer″ in the title of your track, and 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, and note the segment of time you composed for:

More on this 135th Disquiet Junto project — “Record the sonic equivalent of air conditioning” — at:

http://disquiet.com/2014/07/31/disquiet0135-soundofsummer/

More on the Disquiet Junto at:

http://disquiet.com/junto

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums

Photo associated with this track by Egi Primayogha via a Creative Commons license:

https://flic.kr/p/bp42GP

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Time in the Library with Mark Rushton

An extended Disquiet Junto piece

There are many mysteries to the Internet, among them why Mark Rushton has a total of just 173 followers at the moment on his SoundCloud account. He’s an active and frequent participant in ambient music online, with a deep archive at markrushton.bandcamp.com and a must-subscribe podcast, just to note a few of his outposts. In any case, among his most recent treats is an extended version of an earlier Disquiet Junto entry. Back in June he was among the members to record the sound of their local library and turn it into music. The first take was two minutes, which he found wanting, and so he has extended it by nearly three times. He talks a bit about the source audio in the original post:

I decided I would try to get a recording by checking out a couple of books. There were two people staffing the Service Desk, so there was a chance for additional sounds in the recording. I figured I could easily get a minute’s worth of recording, and I did. The microphone was peeking out of my shirt’s pocket in a rather unobtrusive way. I tried to be quiet and be careful with my breathing as the mic was pointing upwards at my nose.

Since the elevator exit is right around the corner from the Service Desk, I left that sound in. I thought that was an interesting start. Surely if you work the Service Desk you have to hear it all the time.

The extended version takes even more time to locate the musicality in those source elements and create a lithe, gently percussive, quotidian fantasia from them.

Track originally posted for free download at soundcloud.com/markrushtoncom. More from Iowa City–based Mark Rushton at markrushton.com.

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Cori Marquis and Molly Sheridan on Dance, Music, and Video

An insightful conversation about the Disquiet Junto at NewMusicBox.org

20140725-corim

This week’s Disquiet Junto project, in which compositions are created to complement a video of new choreography, owes a debt to Aphex Twin. It was while researching the aftermarket uses — the cultural afterlife — of his album Selected Ambient Works Volume II for my book in the 33 1/3 series that I came upon Cori Marquis. Now a choreographer and dancer based in New York, she had, while an undergraduate at Stanford University, created a work based on music from the record — more to the point, her project was twice removed, since she had used music from the Alarm Will Sound album of Aphex Twin covers.

I learned a lot about contemporary dance while preparing to interview Marquis for my book, and learned even more when interviewing her, especially about how music is often secondary to the choreography. As an outsider to dance, I mistakenly assumed that dance is an expression of the music, when in fact the relation between dance and the music that is danced to is often quite complicated, even remote.

As this week’s project came into focus, I suspected that the insightful folks at NewMusicBox.org would be interested and indeed Molly Sheridan, the site’s Executive Editor, has published an excellent interview with Marquis about the relation between film and choreography, the relation between music and choreography, and her inspiration for this piece. The full article, “A Feedback Loop of Movement and Sound: Five Questions with Choreographer Cori Marquis,” is online at newmusicbox.org

This, for example, is Marquis on the attraction of film for choreographers:

“You can get the intimacy of film with the physicality of motion; you can alter the viewer’s visual perspective as well as the timing and pacing of the work. The editing becomes part of–or maybe most of–the choreography. You can bring site-specific work beyond the location. You can create physically unfeasible images. And logistically, it can be presented an infinite number of times, with the possibility of a huge geographical reach and scope in audience without the financial obstacles of touring a cast around the world.”

And this is her response for a request by Sheridan for a little more context for what’s happening in this piece of choreography:

“The idea for this dance film is rooted in the ephemeral nature of live performance, and specifically the transient way dancers trace and use space. I wanted to investigate what it is to record these floor patterns and points of contact so that they do not disappear the moment they occur. A clear vehicle for this became paint on bodies, with dance on film. The work uses multiple colors of paint to track two dancers: their points of contact with the floor, themselves, and each other; in athletic phrase work; partnering; and nuanced improvisation. The film primarily utilizes semi-aerial and intimate close-up shots.”

Read the full interview at newmusicbox.org.

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