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.

Monthly Archives: February 2010

Images of the Week: Household Music Wares

Examples of work by Dutch artist Dennis de Bel, including his Sew-O-Phone and Vacumonium:

Another example of contemporary artists making good on Erik Satie’s idea of furniture music.

More on de Bel at his website, Found via, which links to audio of the Vacumonium.

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Quotes of the Week: Quote Reality

Reading the Wall Street Journal’s editorial page is a sure way to raise my blood pressure, but I don’t necessarily expect the same from its book reviews. In the February 22 edition of the newspaper, Sam Sacks (an editor at weighed in on David Shields‘s latest effort in literary activism, the book Reality Hunger: A Manifesto (Knopf, 2010). The review is an almost entirely negative response that focuses on Shields’s book as seen mostly through the lens of writing, but Sacks’s apparent near-dismissal of the artistic value inherent in collage cuts too close to home for anyone who spends a lot of time listening to music that is largely comprised from pre-existing material. As he writes of Shields in his review at one point:

And while he also shows a playful awareness of John Barth and other forerunner advocates of experimental fiction, Mr. Shields’s proposed forms are best likened to the collages of Robert Rauschenberg (duly quoted in “Reality Hunger”), which mix self-portraiture, pages torn from books, defaced photographs and other “available material.”

Sacks takes issue with what he describes as Shields’s lack of interest in “any artifice that is not outspokenly aware of its artificiality.” Yet he fails to recognize the artificiality, let alone the humor, inherent in the book’s packaging, which wraps the cover in blurbs from various writers. Sacks seems to think he’s uncovered some sort of logrolling scandal (“Of the 14 blurbers, excerpts from work by fully half of them appear in the book itself, meaning that these esteemed authors are in effect heaping praise on themselves”), and in the process misses out on how the exaggerated presence of those blurbs on the cover is intended to draw attention to them — and to provide a model for what is inside.

Most prominent among the book’s blurbers is Jonathan Lethem, who produced an essay-length riff along the lines of Shields’s Reality Hunger back in the February 2007 issue of the magazine Harper’s. Titled “The Ecstasy of Influence,” it is built almost entirely from pre-existing text, yet reads as a fully formed work. Shields’s book, by contrast, is a string of loosely connected fragments, sort of like the book-length equivalent of a Tumblr blog.

There’s a telling video feature on Shields at the book’s Amazon page ( In it, Shields references the poet Fernando Pessoa, which brings his artistic process full circle for this website, which is named for Pessoa’s The Book of Disquiet. But more of interest are these following two comments by him:

It’s an ars poetica for a burgeoning group of interrelated but unconnected artists who, living in an unbearably artificial world, are breaking ever larger chunks of quote reality into their work. I don’t feel any of the guilt normally attached to quote plagiarism, which seems to me organically connected to creativity itself. The history of art is the history of appropriation. All art is theft. And so much of the laws that we have now protect the lawyers and hamstring the artists.

I couldn’t help but hear — and, subsequently, after transcribing them, to then read — those uses of the word “quote” as an object of the sentences, rather than simply as verbal accentuation meant to highlight the words that immediately follow them, the spoken-punctuation equivalent to finger-quotes. For in Shields world, which is to say our own, “quote reality” is the reality that is constructed from pre-existing material. And “quote plagiarism” is the act of consciously utilizing chunks of material that already stand on their own, be they written phrases, or musical riffs, or image details.

It’s worth noting that those two chunks of what Shields says appear in immediate succession in the video, and when yoked together serve as a single statement, but they are clearly (at least in the video) sourced from different events.

Sacks’s review at More on Shields at His book Remote (1996) was a prescient reflection on an information-mediated existence, published just before the Internet made that a widespread reality. Remote was published the year after B.W. Powe’s superb Outage: A Journey into Electric City, and I recommend reading them in tandem. Lethem’s essay “The Ecstasy of Influence” is at

Update March 16, 2010: In his Sunday New York Times Book Review essay on Shields’s Reality Hunger on March 14, Luc Sante has a very different take on the book than did the Wall Street Journal’s Sacks. In the piece, Sante weighs in quite favorably, makes note of the Lethem connection, and draws the comparison to the role of appropriation in music — going even a step further, to touch on the aesthetic value of the fissures inherent in sampling (electronic fans, note the use of the word “glitch”), rather than merely focusing on the collage-like aspect of art-by-accrual.

Here’s a key section of the review:

So what constitutes reality, then, as it affects culture? It can be as simple as a glitch, an interruption, a dropped beat, a foreign object that suddenly intrudes. Hence the potency of sampling in popular music, which forces open the space between the vocal and instrumental components. It is also a form of collage, which edits, alters and reapportions cultural commodities according to need or desire. Reality is a landscape that includes unreal features; being true to reality involves a certain amount of wavering between real and unreal. Likewise originality, if there can ever be any such thing, will inevitably entail a quantity of borrowing, conscious and otherwise.

Full review (“The Fiction of Memory”) at

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Past Week at

  • Previous neighbors had two kids. New ones have small dog. In the morning, the quiet (cute, not annoying) scampering sounds the same. #
  • Says something that when Robert Fripp uploads archival recordings from 1970s he singles out "non loop" ideas: #
  • Morning sounds: hard drive, passing bus, passing car, distant siren, the latter barely a wisp but infused with drama. #
  • Android users who write can rejoice. This Bluetooth HID support, BlueInput, looks for real. Will test this weekend: #
  • Had looked forward to album by CSI composer John Keane but it's all singer-songwriter stuff, not the techno-ambient scoring he's known for. #
  • Got PR emails for 6 remix contests in last 24 hours. Much as I love the concept, has it mainstreamed smoothly, or jumped the shark? #
  • Listening to new Autechre album, Oversteps. Has it only been two years since Quaristice? Feels like forever. #
  • I don't go to 7-Eleven often, but every time I do, I look at the magazine rack & realize I'm hoping Scratch Magazine's been revived. #
  • Most notable sound of the week: the tiny, tinny, fragile crackle of my dad's hearing aids after he removes them at the end of the day. #
  • My father just showed me photos of a hawk he was stalking this morning. Not certain he has subject and object straight. #
  • The helicopter passed the apartment, then veered right and continued into the distance slowly, seeming to hover but getting ever more quiet. #
  • Will some future generation not know the life-pausing sensation inherent in the computer's status bar? #
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Amon Tobin Takes Noisia Down the Rabbit Hole MP3)

Dutch electronica trio Noisia managed to get Amon Tobin to remix a single from their forthcoming album, and it’s available for free download through March 8.

The song is titled “Machine Gun,” the album Split the Atom. Tobin, true to form, extracts spare elements from the original and refashions them into his own piece — in the process, he takes the original and makes it considerably more abstract, largely ditching the club-friendly beat, and along with it various pop flourishes. His revision is also about half a minute longer that the song from which it’s derived.

Noisia’s “Machine Gun” sounds a bit like if Daft Punk did the theme song for a James Bond movie. I can’t link to streaming audio of Tobin’s expert reassembly, because you have to go through this whole registration rigmarole to get the MP3, but it’s worth it (in part because the registration process allows you to opt out of future emails). The track’s online through March 8 at

The original version can be heard in this video:

Noisia are Nik Roos, Martijn van Sonderen, and Thijs de Vlieger; more on them and the free MP3 at More on Tobin at

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The Light Pleasures of Dark Drones (MP3)

“Nicely ominous” — perhaps no other phrase can so well sum up the conflicting emotional effects of a well-crafted drone. Those words were part of a comment a few days ago, responding to a track by Hoist at

Appropriately titled “Bleakscape,” the track is a lightly meandering, slowly circulating drone that doesn’t so much progress linearly as seap outward as time progresses. It could be the sound of an infant’s crib-mobile slowed to an extreme. It could be the score to a planetarium installation, each newly introduced sound timed to the appearance of a star.

Throughout, this undercurrent of tension, a tremulous if distant rumbling, is set against the glints that comprise the most prominent aspects of the composition. It’s quite a lovely thing, overall, in particular how the various different elements change how your ear perceives the work’s pacing.

Hoist is Boston, Massachusetts”“based Charlie Hoistman.

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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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