My 33 1/3 book, on Aphex Twin's Selected Ambient Works Volume II, was the 5th bestselling book in the series in 2014. It's 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.

tag: science-fiction

Disquiet Junto 0236: Hello Jun(t)o

The Assignment: Say hi to the Juno Spacecraft by embedding Morse code in an original composition.

Screen Shot 2016-07-07 at 10.38.56 AM

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 late morning, California time, on Thursday, July 7, 2016, with a deadline of 11:59pm wherever you are on Monday, July 11, 2016.

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

Disquiet Junto 0236: Hello Jun(t)o
The Assignment: Say hi to the Juno Spacecraft by embedding Morse code in an original composition.

In this project we’re going to send a friendly signal to the NASA probe, the Juno spacecraft, that just entered orbit around Jupiter. Well, we’re going to compose such signals. Sending them is a separate endeavor. We’re going to build on the “Say ‘Hi’ to Juno” endeavor, which had thousands of ham operators sending a message to Juno during its five-year voyage. The “Say ‘Hi’ to Juno” message was Morse code for “Hi” — that is, four dots followed by two dots (…. ..).

Step 1: Listen to the Morse code for “hi” (four dots followed by two dots) on repeat for a short time.

Step 2: Create an original musical composition that in one or more ways interpolates that Morse code.

Step 3: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 4: Annotate your track with a brief explanation of your approach and process.

Step 5: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in the late morning, California time, on Thursday, July 7, 2016, with a deadline of 11:59pm wherever you are on Monday, July 11, 2016.

Length: The length is up to you, though around one minutes seems about right.

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 “disquiet0236.” Also use “disquiet0236” 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 236th weekly Disquiet Junto project — “Say hi to the Juno Spacecraft by embedding Morse code in an original composition” — at:

http://disquiet.com/0236/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Subscribe to project announcements here:

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

Disquiet Junto general discussion takes place on a Slack (send your email address to twitter.com/disquiet for inclusion) and at this URL:

http://disquiet.com/forums/

More on the Juno Spacecraft technology at:

http://spaceflight101.com/juno/spacecraft-information/

More on the “Say ‘Hi’ to Juno” ham operator project here:

http://www.jpl.nasa.gov/video/details.php?id=1263

Image associated with this project courtesy of NASA.

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Disquiet Junto Project 0229: Fourth Worldizing

Use a favorite trick of legendary sound designer Walter Murch.

murch-thx

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 shortly after noon, California time, on Thursday, May 19, 2016, with a deadline of 11:59pm wherever you are on Monday, May 23, 2016.

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

Disquiet Junto Project 0229: Fourth Worldizing
Use a favorite trick of legendary sound designer Walter Murch.

Background: At 2:14 in the following YouTube clip of an interview about the concept of “worldizing” with sound-design legend Walter Murch he plays a bit of a movie, THX-1138, and then describes the process of recording something to get an exaggerated sense of the space in which it was recorded: “If you are in an ordinary sized room and play the voice at four times speed … and you record it on the other tape recorder, also running at this very fast speed, then when you play the other recorder back at normal speed you get the original sound but you get the space of the room as if it was four times larger than it really is.” (Just to expand the idea a bit, the project’s title, “Fourth Worldizing,” is a nod to musician Jon Hassell.)

https://www.youtube.com/watch?v=_py6jVyOqUY

These are the steps for the project:

Step 1: Using the trick Murch has provided, make something of it.

Step 2: Upload your completed track to the Disquiet Junto group on SoundCloud.

Step 3: Annotate your track with a brief explanation of your approach and process.

Step 4: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: This project was posted in shortly after noon, California time, on Thursday, May 19, 2016, with a deadline of 11:59pm wherever you are on Monday, May 23, 2016

Length: The length is up to you, though between one and three minutes feels about right.

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 “disquiet0229.” Also use “disquiet0229” 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 229th weekly Disquiet Junto project (“Fourth Worldizing: Use a favorite trick of legendary sound designer Walter Murch”) at:

http://disquiet.com/0229/

Thanks to Steve Ashby (ashbysounds.com) and Jakob Thiesen (jakobthiesen.flavors.me) for beta testing it.

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

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

Subscribe to project announcements here:

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

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the film THX-1138.

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I’m Talking About Sound + Film at the Disposable Film Festival

That's April 8 in San Francisco at the Bay Area Video Coalition

dff2016

“Eyes are forgiving, ears less so. Eyes want to be seduced. Ears are sensitive to incongruity, discontinuity, artifice. How can sound reinforce narrative? How can sound be narrative? How can sound design serve as score? We’ll explore the past and the technologically enabled promise of film sound.”

That’s the opening of — and abstract for — a talk I’ve been invited to give at the Disposable Film Festival this coming April 8 in San Francisco from 4pm to 5:30pm. The title of the talk is “Sound + Vision: A Master Class with Marc Weidenbaum.” It’ll be at Bay Area Video Coalition, whose address is 2727 Mariposa Street, San Francisco, CA 94110.

I’ll be talking about usefully adventurous examples of creative employment of sound in film and about new technologically mediated opportunities. The audience is likely to include a higher than average percentage of people interested in making films, so I’ll also be outlining a variety of creative prompts to spur original sonic experimentation in the service of narrative.

As examples I’ll be drawing on work I’ve done in music supervision and sound design on the new science fiction film Youth, directed by Brett Marty, and on the documentary The Children Next Door, directed by Doug Block.

You can register to attend the talk here: attendease.com.

The full festival lineup is here: disposablefilm.com.

dff2016-bavc

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This Is the Starship Ambience You’ve Been Looking For

"Another Carefree Day On The Nostromo" by Boson Spin of Brisbane

If the hotel you’re staying in doesn’t have quite the spaceship-quality, hermetic, time-slowing HVAC system you’re accustomed to, you still have the option to augment your sonic reality. In most hyper-developed cities, temporary stay means submitting to climate control so optimized for depersonalization that it serves to emphasize just how much you are a visitor, just how much you are not part of the place you call, for a brief spell, something akin to home. If the building lacks that welcome, saturating drone, you could do worse than to pipe “Another Carefree Day on the Nostromo” by Boson Spin into your capsule. At 20 minutes in length, it is packed with a fearful stasis, a forbidding hollowness that moans with the exhaust of some massive engine whose traveling velocity approaches the speed of light while, in a literally cosmic sense, it is barely moving at all.

Track originally posted at soundcloud.com/boson_spin, in all its Alien glory. Boson Spin is Stan Magendanz of Brisbane, Australia. More at bosonspin.bandcamp.com.

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Rimbaud Scores Ryman

Music by Scanner for radio science fiction drama about the future of gender

As mentioned here back in early February, upon the death of Denise Duval, the electronic musician Scanner is an especially apt choice for scoring radio dramas. Much of his early electronic music involved lending scores to real-life conversations plucked — well, sampled, really — from the ether. Commissioned scores allow him to apply that experience and those techniques to more formalized narratives. That February entry was about Scanner’s take on the Cocteau play La Voix Humaine, the opera of which starred Duval in its first incarnation. More recently, Scanner provided the score to a BBC Radio 4 story by science fiction author Geoff Ryman. The Ryman story, “No Point Talking,” isn’t currently online (bbc.co.uk), but Scanner (aka Robin Rimbaud) has posted nearly 11 minutes of the score, a cooly atmospheric outing, with plenty of echoing synthesizers, though the main thread is a sequence of what sounds like electric guitar. Around the seven-minute mark, unintelligible voices intrude, passing as if by the window of the studio where Scanner is recording. The voices play an interesting third-party role. They are neither speaking parts from Ryman’s story, nor are they score. They are human presence as score, voices as sound design. And after they fade, the guitar proceeds forward, bending until it comes to resemble another voice of sorts: the call of seagulls.

Here’s the BBC’s description of Ryman’s tale:

Award-winning sci-fi writer Geoff Ryman’s new story for the BBC, imagining a future world where California has been split in two, each half with very different political outlooks.

His conservative hero finds himself in a place he doesn’t like or understand, where everything he holds dear is challenged: relations between men and women, and even the very definitions of ‘he’ and ‘her’.

This story was written as Geoff was investigating the portrayal of gender in utopian science fiction, as part of BBC Radio 4’s Utopia season. That documentary which accompanies ‘No Point Talking’ is called ‘Herland’.

Track originally posted at soundcloud.com/scanner. More from Scanner, who is based in London, at scannerdot.com.

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