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: sound-art

Disquiet Junto Project 0160: One Minute Past Midnight

The Assignment: Make a one-minute field recording starting right at midnight (wherever you are).

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

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

This assignment was made in the early evening, California time, on Thursday, January 22, 2015, with a deadline of 11:59pm wherever you are on Monday, January 26, 2015. (This week there is a little wiggle room. See below.)

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

Disquiet Junto Project 0160: One Minute Past Midnight
The Assignment: Make a one-minute field recording starting right at midnight (wherever you are).

This week’s project is very simple. It asks that you make a field recording of sound, just one single minute, starting at a specific time: midnight.

From simple things complex things sometimes grow, and this project is a hopeful initial step toward a variety of related projects that may spring up over the course of 2015, perhaps even culminating in some sort of collection, maybe even in a physical space along the lines of the “Sonic Frame” installation at the San Jose Museum of Art (that piece largely drew its sonic material from an earlier Junto project). No one’s work will be repurposed without their permission, and it’s appreciated if you post your track with a Creative Commons license that allows for non-commercial reuse and sharing.

The steps are as follows:

Step 1: Record audio, outdoors or indoors, at midnight wherever you are.

Step 2: You can post the audio as is, or create a slight fade in of volume at the start and fade out at the end.

Step 3: Upload the finished track to the Disquiet Junto group on SoundCloud. Please consider posting photography, even video, associated with your efforts.

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

Deadline: Projects are usually due at 11:59pm wherever you are on Monday, January 26, 2015. This time, if you need to do the recording the final night of the project, it’s OK to upload early on January 27.

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

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and 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 include the term “disquiet0160-oneminutepastmidnight” 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 160th Disquiet Junto project — “Make a one-minute field recording starting right at midnight (wherever you are)” — at:

http://disquiet.com/2015/01/22/disquiet0160-oneminutepastmidnight/

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 project adapted from one by Manuel Delgado Tenorio and used via Creative Commons license:

https://flic.kr/p/heAk6W

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One More Month of “Sonic Frame”

My sound installation at the San Jose Museum of Art

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The installation “Sonic Frame” that I developed for the San Jose Museum of Art will be exhibited for one more month from today. The exhibit runs from October 2, 2014, through February 22, 2015. I’ll be giving a little talk the early evening of February 19, 2015, at the museum as part of the latest edition of its Art Rage event series (details will surface at sjmusart.org).

“Sonic Frame” is a three-screen response to Josh Azzarella’s video “Untitled #8, 2004.” Each of the three screens has original pieces of music, 21 total, that are intended to serve as scores to the video. Each score changes the viewer’s experience of the video, which in its original form is entirely silent.

The scores are largely drawn from members of the Disquiet Junto community of weekly music projects (disquiet.com/junto), and were created by the following musicians: Taylor Deupree, Van Stiefel, Natalia Kamia, Naoyuki Sasanami, Carlos Russell, Mark Rushton, Paolo Mascolini (Sōzu), Stephen Vitiello, Steve Roden, ævol, Marcus Fischer, Julia Mazawa, the duo of Westy Reflector and Lee Rosevere, Ezekiel Kigbo (The Atlas Room), Steiner (Stijn Hüwels), Christina Vantzou, Scanner, Inlet (Cory K.), Jean Reiki, Marco Raaphorst, and Bad Trails.

There is a video in which I talk about the piece. The thorough summary is here: “How Sound Frames Vision.”

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Disquiet Junto Project 0159: Recipe Hyperlapse

The Assignment: See what music the steps of a favorite recipe yield.

20150115-dj0159

Each Thursday in the Disquiet Junto group on SoundCloud.com and at Disquiet.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, January 15, 2015, with a deadline of 11:59pm wherever you are on Monday, January 19, 2015.

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

Disquiet Junto Project 0159: Recipe Hyperlapse
The Assignment: See what music the steps of a favorite recipe yield.

The steps for this week’s project are as follows.

Step 1: Choose a favorite recipe.

Step 2: Note key moments in the recipe: the procurement of materials, the preparation of an ingredient, the turning on or off of a device, etc.

Step 3: Prepare the recipe, and when doing so record a sound representative of each of those key moments.

Step 4: Stitch the audio resulting from Step 3 into a single piece of audio, roughly a minute or two minutes in length.

Step 5: It’s not necessary, but consider adding tonal material to the results of step 4.

Step 6: Upload the finished track to the Disquiet Junto group on SoundCloud.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Deadline: 11:59pm wherever you are on Monday, January 19, 2015.

Length: The length of your finished work should be between one minute and two minutes.

Upload: Please when posting your track on SoundCloud, only upload one track for this assignment, and 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 include the term “disquiet0159-kitchenhyperlapse” 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 159th Disquiet Junto project — “See what music the steps of a favorite recipe yield” — at:

http://disquiet.com/2015/01/15/disquiet0159-kitchenhyperlapse/

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 project by Andy Schultz used via Creative Commons license:

https://flic.kr/p/5QvQyc

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Where the Work Ends and the World Begins

Chris Wood explores the many signals of Brussels

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There is just enough noise that none of it stands out, and just few enough noises that the ears strain for distinctions. There are children playing, and a news report, and music from various genres and languages. There is a thick static that seems to want to become music; it hangs low, a sonorous drone, whining like a wounded animal hoping for just a little affection. Sirens pass, and the whole range of noises just keep going, stalwart despite their modest proportions, their simplicity, their everydayness. This is “Oscillating Cities” by Chris Wood. This is, in fact, “Oscillating Cities” heard amid the sounds of the city. Where the work ends and the world begins is unclear, and that may very well be part of Wood’s point.

In an explanatory post, Wood explains how the piece came to be: “Osciallating Cities is a dynamic sound environment built from local radio, field recordings and internet radio from distant locations retransmitted over FM. It was performed on the square at Comte de Flandres, Brussels in June 2014.” The work was made at the behest of iMAL, the Brussels-based interactive Media Art Laboratory, more on which at imal.org.

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The mix of source material isn’t the extent of Wood’s mediation. There are, he explains, various aspects of the employment of radio, which influence the quality of the signal, and some of the source audio is filtered through delays and other treatments. Still photographs and footage evidence the sculptural quality of the generic radios placed around the plaza. A video documenting a series of related works features a short interview with Wood (at timecode 5:29):

Track originally posted at soundcloud.com/wordthecat. More from Chris Wood, who is based in England, at wordthecat.com and twitter.com/whirringcat.

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Video from My San Jose Museum of Art Installation

A short feature with all 10 interveners

The San Jose Museum of Art has uploaded this eight-minute video featuring the various folks who, like me, contributed works as “interveners” for its current Momentum exhibit, which celebrates the museum’s 45th anniversary. I talk in the video at 2:52 and 3:59.

My piece is “Sonic Frame,” a response in three screens to a video by Josh Azzarella. Each screen contains a unique set of seven different audio tracks composed to complement it, so each time the video plays anew it is accompanied by different sounds. Among the participating musicians are Taylor Deupree, Natalia Kamia, Julia Mazawa, Steve Roden, Naoyuki Sasanami, Christina Vantzou, Stephen Vitiello, and Scanner.

The Momentum exhibit runs from October 2, 2014, through February 22, 2015. More on the exhibit here (“How Sound Frames Vision”) and at sjmusart.org. Video hosted at youtube.com.

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