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. • 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.

Tangents: Oscarless Eno, New Autechre, Symphonic Nortec

Been awhile since the most recent overview of notable stories elsewhere on the web. He’s a quick rundown, to bridge the gap from 2009 to 2010:

● Why Brian Eno‘s score to Peter Jackson‘s The Lovely Bones is reportedly not eligible for an Oscar (, via

● Thanks to Google Translate, an interview with composer Cliff Martinez (

● Great list of movie scores to look forward to in 2010, including Howard Shore‘s Edge of Darkness, Daft Punk‘s Tron Legacy (which we’ve been hearing about for so long you’d be forgiven for thinking it’s already come and gone), and Elliot Goldenthal‘s The Tempest (

● Promising development for gadget and software hackers: French court “dismissed a lawsuit filed by Nintendo over the use of flash carts on the DS” (

● Software that emulates vintage 1950s music synthesizers (, via

● Tom Moody continues the discussion about the proliferation of music apps, referencing something I’d noted about user-interface challenges in casual-gaming applications (, re:

● Instructions on how to bend an existing RjDj scene to your wills (, plus a fun video explaining the RjDj iPhone/Touch software, a great bit of propaganda if you want to introduce people to it ( Though before you get too excited at the prospect, note that the instructions look like this:

● On February 2, be sure to check out, Jason Sloan‘s Cageian, day-long composition.

● William Gurstelle introduces the Atlantic‘s audience to the Arduino, the DIY artist’s “physical computer” of choice (; also from the Atlantic (same issue), how composer David Dunn and colleagues might fighting insect infestation (

● Video footage of the Orchestrion, backing automaton music machine on what is certainly the Pat Metheny album I’ve looked forward to more than any other in (yow) a quarter century — that is, since his 1985 collaboration with Ornette Coleman, Song X (

● Sneak peek at the upcoming Autechre album, Oversteps, due out March 22 (package design by Designer Republic). Definitely the most visually striking Autechre album since their Hafler Trio collaboration, æ³o & h³æ (

● Cool little USB hub that looks like a tape cassette (

● “How has the Internet changed the way you think?” Among those to offer answers to the World Question 2009: Tony Conrad, Olafur Eliasson, Brian Eno, and Ai Weiei (

● Nortec Collective‘s Bostich and Fussible on teaming with an orchestra (

● Keen visual of the “Visual History of Loudness” (

● The magazine Vice reports that dismissing the skill required to DJ brought in more negative comments than just about anything else it’s ever published (

● Growing database of who’s sampled whom:

● The Significant Objects project (in which mundane items are given meaning and, hence, value through storytelling) focuses its narratives on a music box ( — speaking of which, really pleased to see two Disquiet Downstream entries made Significant Objects cofounder Rob Walker‘s list of songs he listened to most this year (

● Alan Rich‘s review of Terry Riley‘s In C from March 10, 1969, in New York magazine (, via

● Yuki Suzuki‘s “White Noise Machine,” which calculates “the quantity of street noise and then generate the same amount of white noise” (

● A documentary I want to see badly, Trimpin: The Sound of Invention, by Peter Esmonde:

● The plusses and minuses of music in galleries and museums: “‘Am I alone in finding the word “soundscape” mildly terrifying?’ asked one critic” (

By Marc Weidenbaum

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  • about

  • Marc Weidenbaum founded the website 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, 2021: This day marks the 25th anniversary of the founding of
    December 28, 2021: This day marks the 10th anniversary of the Instagr/am/bient compilation.
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    July 28, 2021: This day marked the 500th consecutive weekly project in 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

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    The Disquiet Junto series of weekly communal music projects explore constraints as a springboard for creativity and productivity. There is a new project each Thursday afternoon (California time), and it is due the following Monday at 11:59pm:

  • 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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    Since January 2012, the Disquiet Junto has been an ongoing weekly collaborative music-making community that employs creative constraints as a springboard for creativity. Subscribe to the announcement list (each Thursday), listen to tracks by participants from around the world, read the FAQ, and join in.

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  • 0511 / Freeze Tag / The Assignment: Consider freezing (and thawing) as a metaphor for music production.
    0510 / Cold Turkey / The Assignment: Record one last track with a piece of music equipment before passing it on.
    0509 / The Long Detail / The Assignment: Create a piece of music with moments from a preexisting track.
    0508 / Germane Shepard / The Assignment: Use the Shepard tone to create a piece of music.
    0507 / In DD's Key of C / The Assignment: Make music with 10 acoustic instrument samples all in a shared key.

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