New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • Disquiet.com F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

Disquiet Junto Project 0494: Insect Menagerie

The Assignment: Record a 20-second clip of the sounds of an insect that you yourself have invented.

Each Thursday in the Disquiet Junto group, 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. (A SoundCloud account is helpful but not required.) 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.

Deadline: This project’s deadline is the end of the day Monday, June 21, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, June 17, 2021.

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

Disquiet Junto Project 0494: Insect Menagerie The Assignment: Record a 20-second clip of the sounds of an insect that you yourself have invented.

This project is the first of three that are being done over the course of as many months in collaboration with the 2021 Musikfestival Bern, which will be held in Switzerland from September 1 through 5 under the motto “schwärme” (“swarm”). For this reason, a German translation is provided below. We are working at the invitation of Tobias Reber, an early Junto participant, who is in charge of the educational activities of the festival. This is the third year in a row that the Junto has collaborated with Musikfestival Bern. Select recordings resulting from these three Disquiet Junto projects will be played and displayed throughout the festival.

There is just one step for this week’s project: Compose the sound of a single imaginary insect. The duration of the recording should be 20 seconds.

Background: There will be public display cases at the festival, and we may set up motion triggers that cause an insect sound to occur when people pass by. We will do so with signage explaining that it documents experimental insect life. The participants whose work is included will be listed by name.

Seven More Important Steps When Your Track Is Done:

Step 1: Include “disquiet0494” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0494” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your tracks in the following discussion thread at llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0494-insect-menagerie/

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

Step 6: If posting on social media, please consider using the hashtag #disquietjunto and #musikfestivalbern so fellow participants are more likely to locate your communication.

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

Additional Details:

Deadline: This project’s deadline is the end of the day Monday, June 21, 2021, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, June 17, 2021.

Length: The length of your finished track should be 20 seconds.

Title/Tag: When posting your tracks, please include “disquiet0494” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, 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.

Download: It is always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 494th weekly Disquiet Junto project — Insect Menagerie (The Assignment: Record a 20-second clip of the sounds of an insect that you yourself have invented) — at: https://disquiet.com/0494/

Thanks to Tobias Reber and Musikfestival Bern for collaboration on this project. More on the festival at:

https://www.musikfestivalbern.ch/
https://www.instagram.com/musikfestival_bern
https://www.facebook.com/musikfestivalbern

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: https://llllllll.co/t/disquiet-junto-project-0494-insect-menagerie/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

The image associated with this project is by dr_relling, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/6RPmAq

https://creativecommons.org/licenses/by/2.0/

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Waves

A mesostic

        The White 
           cAps' white noise 
models improVisation,
        pattErn changing
   continuouSly 
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Grazing the Ointment

Glitchy choir work from Mark Hadley


Contrasts make for rich compositional territory. Here, in Mark Hadley’s “FELT9b,” the opposed elements are vocal choir on the one hand and a beading, percussive, occasionally glitchy effect on the other. The glitch originates in part from the treatment of the vocals, which sometimes backtrack briefly, quicker than briefly, a microsecond that is like a stray thought, like a fly not so much in as grazing the ointment. The refracted vocalizing finds its match in the percussion, which is put through a delay that replicates it, as if in a hall of sonic mirrors. In a less sensitive approach, this would quadruple the seeming speed of the piece, but quite the contrary occurs. The delay seems to slow it, to divide time into more segments, to draw attention to time, to the vocals, and to a connection with the artifice of the fractured singing.

Track originally posted atsoundcloud.com/soundbymark. More from Hadley, who is based in Sheffield, UK, at soundbymark.bandcamp.com.

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Hoth on Earth

Under the ice in a Michigan winter

Rob Byers placed a microphone beneath the ice, and found laser beams. Not actual ones, but what could easily be mistaken for such a thing. The battle beneath the ice, as recorded in northern Michigan earlier this year, sounds like an epic fight on Hoth. “A drop in temperature causes a frozen lake to sing through the winter night,” writes Byers of the audio. “The piece starts underneath the ice, recording laser-like sounds with a hydrophone. At 2:15 it transitions above the ice to hear the groans and moans of the shifting ice. Listen for a neighbour’s response.” The streaming file isn’t embeddable, so head over to fieldrecordings.xyz for a listen.

More from Byers at robbyers.com and twitter.com/RobByers1.

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Score

A mesostic

 The film'S a bit rote but
the audio Cues are
         sOmething else,
 like etheR bound to data's cold
      pulsE. And I'll watch again
 no doubt.
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