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.

The Fernando Pessoa Underground

This website was named for The Book of Disquiet (or Livro do Desassossego) by the late Portuguese poet Fernando Pessoa (1888-1935). There’s a somewhat hidden sub-site on Disquiet.com about Pessoa, viewable at disquiet.com/pessoa. It contains three sections: (1) an experiment in using multiple windows to compare 13-plus translations of a single Pessoa poem, “Autopsicografia”; (2) an experiment in using color to compare three translations of an excerpt from The Book of Disquiet; and (3) a list of Pessoa-related spots on the Internet.

Pessoa’s axiom “Mute, because overheard” has been a touchstone for this website since it began, as has this excerpt from Desassossego, here translated by Richard Zenith:

Everything stated or expressed by man is a note in the margin of a completely erased text.

From what’s in the note we can extract the gist of what must have been in the text, but there’s always a doubt, and the possible meanings are many.

I’m adding this post, because the Pessoa sub-site isn’t itself searchable in this newly revised version of Disquiet.com. Now, at least, this post (along with a few other pages) will come up in search results.

This, by the way, is the original Desassossego text that Zenith translated:

Tudo quanto o homem expõe ou exprime é uma nota à margem de um texto apagado de todo.

Mais ou menos, pelo sentido da nota, tiramos o sentido que havia de ser o do texto; mas fica sempre uma dúvida, e os sentidos possíveis são muitos.

By Marc Weidenbaum

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  • about

  • Marc Weidenbaum founded the website Disquiet.com in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects. He has written for Nature, Boing Boing, The Wire, Pitchfork, and NewMusicBox, among other periodicals. He is the author of the 33 1⁄3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. Read more about his sonic consultancy, teaching, sound art, and work in film, comics, and other media

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    • December 13, 2022: This day marks the 26th anniversary of the founding of Disquiet.com.
    • January 6, 2023: This day marked the 11th anniversary of the start of the Disquiet Junto music community.

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    • April 16, 2022: I participated in an online "talk show" by The Big Conversation Space (Niki Korth and Clémence de Montgolfier).
    • March 11, 2022: I hosted a panel discussion between Mark Fell, Rian Treanor and James Bradbury in San Francisco as part of the Algorithmic Art Assembly (aaassembly.org) at Gray Area (grayarea.org).
    • December 28, 2021: This day marked the 10th (!) anniversary of the Instagr/am/bient compilation.
    • January 6, 2021: This day marked the 10th (!) anniversary of the start of the Disquiet Junto music community.
    • December 13, 2021: This day marked the 25th (!) anniversary of the start of the Disquiet Junto music community.
    • There are entries on the Disquiet Junto in the book The Music Production Cookbook: Ready-made Recipes for the Classroom (Oxford University Press), edited by Adam Patrick Bell. Ethan Hein wrote one, and I did, too.
    • A chapter on the Disquiet Junto ("The Disquiet Junto as an Online Community of Practice," by Ethan Hein) appears in the book The Oxford Handbook of Social Media and Music Learning (Oxford University Press), edited by Stephanie Horsley, Janice Waldron, and Kari Veblen. (Details at oup.com.)

  • My book on Aphex Twin's landmark 1994 album, Selected Ambient Works Vol. II, was published as part of the 33 1/3 series, an imprint of Bloomsbury. It has been translated into Japanese (2019) and Spanish (2018).

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